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"the  fi.-.ixch.K    MOTHER,"    BY    CHARLES  GRAFLY,   BRONZE  GROUP 
IN    FRONT   OF   THE    MAIN   ENTRANCE   TO   THE   PALACE   OF   FINE 
ARTS.      IT   WAS   PRESENTED   BY   THE  PIONEER    MOTHER    MONUMENT 
ASSOCIATION,    WHICH    RAISED    $25,000    BY    POPULAR    SUBSCRIP- 
TION.     ITS    PERMANENT    DESTINATION    IS   THE    CIVIC    CENTER   OF 
SAN    FRANCISCO.     THE   INSCRIPTION    ON    THE   PEDESTAL   WAS 
WRITTEN    BY    PRESIDENT    BENJAMIN    IDE    WHEELER,    OF    THE 
UNIVERSITY   OF    CALIFORNIA:    "oVER   RUDE    PATHS   BESET   WITH 
HUNGER  AND  RISK   SHE  PRESSED  ONWARD  TOWARD  THE  VISION 
OF    A    BETTER    COUNTRY.     TO   AN    ASSEMBLAGE    OF    MEN    BUSIED 
WITH    THE    PERISHABLE    REWARDS    OF    THE    DAY    SHE    BROUGHT 
THE  THREE-FOLD  LEAVEN  OF  ENDURING  SOCIETY — FAITH,  GEN- 
TLENESS,   AND    THE    NURTURE   OF    CHILDREN." 


THE  CITY  OF  DOMES 

A  WALK  WITH  AN  ARCHITECT  ABOUT  THE 
COURTS  AND  PALACES  OF  THE  PANAMA- 
PACIFIC  INTERNATIONAL  EXPOSITION  WITH 
A  DISCUSSION  OF  ITS  ARCHITECTURE  •  ITS 
SCULPTURE  •  ITS  MURAL  DECORATIONS  •  ITS 
COLORING  •  AND  ITS  LIGHTING  •  PRECEDED 
BY  A  HISTORY  OF  ITS  GROWTH 


BY 

JOHN  D.  BARRY 

Author  of  "Intimations'* 

•*In  the  Palace  of  Fine  Arts  and  the  French  Pavilion" 

"Outlines,"  "Reactions," 

Etc. 


SAN  FRANCISCO 

JOHN  J.  NEWBEGIN 


1915 


Copyright,  191 5 
by  John  D.  Barry 


San  Francisco: 

The  Blair-Murdock  Company 

Printers 


"Tothe 

architects y  the  artists  and  the  artisans 

and  to  the  men  of  affairs  who  sustained  them  in  the 

cooperative  work  that  created  an  exposition 

of  surpassing  beauty  ^unique  among  the 

expositions  of  the  world. 


CONTENTS 

Chapter.  Page. 

Preface         ix 

Introduction i 

I.  The  View  from  the  Hill 29 

II.  The  Approach 35 

III.  In  the  South  Gardens 37 

IV.  Under  the  Tower  of  Jewels 42 

V.  The  Court  of  the  Universe 44 

VI.  On  the  Marina 51 

VII.  Toward  the  Court  of  the  Four  Seasons  .      .  54 

VIII.  The  Court  of  the  Four  Seasons    ....  57 
IX.  The  Palace  of  Fine  Arts  from  across  the 

Lagoon 61 

X.  The  Palace  of  Fine  Arts  at  Close  Range    .  68 

XI.  At  the  Palace  of  Horticulture     ....  72 

XII.  The  Half  Courts 78 

XIII.  Near  Festival  Hall 81 

XIV.  The  Palace  of  Machinery 83 

XV.  The  Court  of  the  Ages 86 

XVI.  The  Brangwyns 92 

XVII.  Watching  the  Lights  Change      .      .      .      .101 

XVIII.  The  Illuminating  and  the  Reflections  .      .        103 

Features  that  Ought  to  be  Noted  by  Day    .    107 

Features  that  Ought  to  be  Noted  by  Night  131 

Index 139 


[V] 


ILLUSTRATIONS 

Page 

"The  Pioneer  Mother" Frontispiece 

Design  of  the  Exposition  made  in  1912 4 

Site  of  the  Exposition  before  Construction  was  Begun  6 

Fountain  of  Youth 10 

Fountain  of  El  Dorado 12 

Court  of  the  Universe 16 

"Air"  and  "Fire" 18 

"Nations  of  the  West"  and  "Nations  of  the  East"  ....  22 

"The  Setting  Sun"  and  "The  Rising  Sun" 24 

"Music"  and  "Dancing  Girls" 28 

"Hope  and  Her  Attendants" 30 

Star  Figure ;  Medallion  Representing  "Art" 34 

California  Building •     ...  36 

Spanish  Plateresque  Doorway,  in  Northern  Wall   ....  40 

Eastern  Entrance  to  Court  of  Four  Seasons 42 

Night  View  of  Court  of  Four  Seasons 46 

Portal  in  Court  of  Four  Seasons 48 

The  Marina  at  Night 52 

Rotunda  of  the  Palace  of  Fine  Arts 54 

Altar  of  Palace  of  Fine  Arts 58 

"The  Power  of  the  Arts" 60 

Italian  Fountain,  Dome  of  Philosophy 64 

"The  Thinker" 66 

"Aspiration"         70 

"Michael  Angelo" 72 

Italian  Renaissance  Towers 76 

"The  End  of  the  Trail" 78 

Colonnade  in  Court  of  Palms 82 

"Victorious   Spirit" 84 

Entrance  to  Palace  of  Horticulture 88 

Night  View  of  the  Palace  of  Horticulture 90 

Festival  Hall  at  Night 94 

"The  Pioneer" 96 

Fountain  of  Beauty  and  the  Beast 100 

Entrance  to  Palace  of  Varied  Industries 102 

Group  above  Doorway  of  Palace  of  Varied  Industries            .  104 

Avenue  of  Palms  at  Night 108 

[vii] 


ILLUSTRATIONS 

Page 

Avenue  of  Progress  at  Night no 

Arcaded  Vestibule  in  Entrance  to  Palace  of  Machinery  .     .114 

"Genii   of   Machinery" 118 

"The  Genius  of  Creation" 120 

Tower  in  Court  of  the  Ages 122 

Fountain  of  the  Earth 126 

"The  Stone  Age" 130 

"Fruit  Pickers"        132 

Entrance  to  Court  of  the  Ages,  at  Night 134 

"The  Triumph  of  Rome" 136 

"The  Thirteenth  Labor  of  Hercules" 138 


[  viii  ] 


PREFACE 

N  THE  main,  this  volume  consists  of 
articles  originally  published  in  the 
San  Francisco  Bulletin.  It  in- 
cludes material  gathered  from  ?7iany 
visits  to  the  Exposition  grounds  and 
from  many  talks  'with  men  concerned  in  the  organiza- 
tion and  the  building  and  ornamentation.  The  brief 
history  that  forms  the  IntroduBion  gives  an  account 
of  the  development.  Forme,  as,  I  presume,  for  most 
people,  the  thing  done,  no  matter  how  interesting  it 
may  be,  is  never  so  interesting  as  the  doing  of  the 
thing,  the  play  of  the  forces  behind.  Even  in  the  talk 
ivith  the  architeB,  where  the  finished  Exposition  it- 
self is  discussed,  I  have  tried  to  keep  in  mind  those 
forces,  and  wherever  I  could  to  indicate  tlieir  play. 

The  dialogue  form  I  have  used  for  several  rea- 
sons: it  is  easy  to  follow;  it  gives  scope  for  more  than 
one  kind  of  opinion;  and  it  deals  with  the  subjeB  as 
we  all  do,  when  with  one  friend  or  more  than  one  we 
visit  the  Exposition  grounds.  It  has  been  my  good  for- 
tune to  be  able  to  see  the  Exposition  from  points  of  view 
very  differe7it from  my  own  and  much  better  informed 
and  equipped.  I  am  glad  to  pass  on  the  advantage. 

[ix] 


PREFACE 

The  Exposition  is  generally  ackfioivledged  to  be 
an  achievement  unprecedented.  Merely  to  ivrite  about 
it  afidto  try  to  convey  a  sense  of  its  quality  is  a  priv- 
ilege. I  have  valued  it  all  the  more  because  I  know 
that  7nany  people,  not  trained  in  7natters  of  architec- 
ture and  art,  are  striving  to  relate  themselves  to  the 
expression  here,  to  understand  it  and  to  feel  it  in  all 
its  bearings.  If,  at  times,  direBly  orindireBly,  I  have 
been  critical,  the  reason  is  that  I  wished,  in  so  far  as 
I  could,  to  persuade  visitors  not  to  swallow  the  Ex- 
position whole,  but  to  think  about  it  for  themselves, 
and  to  bear  in  mind  that  the  men  behind  it,  those  of 
today  and  those  of  days  remote,  were  human  beings 
exaBly  like  themselves,  and  to  draw  from  it  all  they 
could  in  the  way  of  genuine  befiefit. 

Though  the  volume  is  mainly  devoted  to  the  artis- 
tic features  associated  with  the  courts  and  the  main 
palaces,  I  have  included,  among  the  illustrations,  pic- 
tures of  the  California  Building,  both  because  of  its 
close  relation  to  California  and  because  it  is  in  itself 
magnificent,  and  of  two  notable  art  features,  the  mu- 
ral painting  by  Biajica  in  the  Italian  Building,  and 
"  The  Thinker,'^  by  Rodin,  in  tlie  court  of  the  French 
Pavilion, 


[x] 


INTRODUCTION 

THE  FIRST  STEPS 

N  JANUARY,  1904,  R.  B.  Hale  of  San 
Francisco  wrote  to  his  fellow-directors  of 
the  Merchants'  Association,  that,  in  1915, 
San  Francisco  ought  to  hold  an  exposition 
to  celebrate  the  opening  of  the  Panama 
Canal.  In  the  -financing  of  the  St.  Louis 
Exposition,  soon  to  begin,  Mr.  Hale  found  a  model  for 
his  plan.  Five  million  dollars  should  be  raised  by  pop- 
ular subscription,  live  million  dollars  should  be  asked 
from  the  State,  and  five  million  dollars  should  be  provided 
by  city  bonds. 

The  idea  was  promptly  endorsed  by  the  business  as- 
sociations. 

From  their  chairmen  was  formed  a  board  of  governors. 
It  zvas  decided  that  the  exposition  should  be  held,  and 
formal  notification  was  given  to  the  world  by  introducing 
into  Congress  a  bill  that  provided  for  an  appropriation  of 
five  million  dollars.  The  bill  was  not  acted  on,  and  it  zvas 
allowed  to  die  at  the  end  of  the  session. 

Soon  after  formulating  the  plan  for  the  exposition  Mr. 
Hale  changed  the  date  from  1915  to  1913,  to  make  it  coin- 
cide with  the  four  hundredth  anniversary  of  the  discovery 
by  Balboa  of  the  Pacific. 

In  igo6  came  the  earthquake  and  fire.  The  next  few 
years  San  Franciscans  were  busy  clearing  away  the  debris 
and  rebuilding.  It  was  predicted  that  the  city  might  re- 
cover in  ten  years,  and  might  not  recover  in  less  than 
twenty-five  years. 

Nevertheless,  in  December,  1906,  zvithin  nine  months 
of  the  disaster,  a  meeting  was  held  in  the  shack  that  served 
for  the  St.  Francis  Hotel,  and  the  Pacific  Ocean  Exposi- 
tion Company  teas  incorporated. 

In  three  years  the  city  recovered  sufficiently  to  hold  a 
week's  festival,  the  Portola,  and  to  m-ake  it  a  success. 

[I] 


THE  CITY  OF   DOMES 

Two  days  aftenvard,  in  October,  1909,  Mr.  Hale  gave 
a  dinner  to  a  small  group  of  business  men,  and  told  of 
what  had  been  done  toivard  preparing  for  the  Exposition. 
They  agreed  to  help. 

Shortly  afternxird  a  meeting  zvas  held  at  the  Merchants' 
Exchange.  It  was  decided  that  an  eifort  should  at  once  be 
made  to  raise  the  money  and  to  rouse  the  people  of  San 
Francisco  to  the  importance  of  the  project  of  holding  the 
Panama-PaciHc  International  Exposition  in  San  Fran- 
cisco in  19 1 5. 

As  many  as  twenty-Uve  hundred  letters  ivere  sent  to 
business  men,  asking  if  they  favored  the  idea  of  hold- 
ing an  exposition.  Out  of  about  eight  hundred  replies 
only  seven  were  opposed.  Presently  there  zvere  signs  of 
enthusiasm,  reflected  in  the  neiospapers. 

A  committee  of  six  representative  business  men  zms 
appointed  and  the  announcement  zvas  made  that  the  com- 
mittee should  be  glad  to  hear  from  anyone  in  the  city  who 
had  suggestions  or  grievances.  It  zvas  determined  that 
every  San  Franciscan  should  have  his  day  in  court. 

Later  the  committee  of  six  appointed  a  foundation  com- 
mittee of  tzvo  hundred,  representing  a  zmde  variety  of  in- 
terests. 

The  committee  of  two  hundred  chose  a  committee  of 
three  from  outside  their  number. 

The  committee  of  three  chose  from  among  the  two 
hundred  a  directorate  of  thirty.  The  thirty  became  the 
directorate  of  a  nezv  corporation,  made  in  ipio,  the  Pana- 
ma-Paciflc  International  Exposition  Company. 

FINANCING 

The  Panama-Pacific  Company  tzvo  local  millionaires, 
W.  H.  Crocker  and  W.  B.  Bourn,  started  financially  zmth 
twenty-five  thousand  dollars  each.  They  established  the 
maximum  indizndual  subscription.  They  also  secured  forty 
subscriptions  of  twenty-five  thousand  dollars  each.  Then 
follozved  the  call  for  a  mass  meeting.  Before  the  meeting 
was  held  the  business  men  of  the  city  zvere  thoroughly 

[2] 


INTRODUCTION 

canvassed.  The  Southern  Pacific  and  the  Union  Pacific 
together  subscribed  tit'o  hundred  and  fifty  thousand  dol- 
lars. There  zvere  many  other  large  subscriptions  from 
public-service  organizations. 

On  the  afternoon  of  the  meeting  there  was  a  crowd  in 
the  Merchants'  Exchange  Board  Room.  The  announce- 
ment of  the  subscriptions  created  enthusiasm.  In  two 
hours  the  amount  ran  up  to  more  than  four  million  dol- 
lars. During  the  next  few  years  they  luere  increased  to 
about  $6,^00,000. 

Meanwhile,  the  State  voted  a  tax  levy  of  five  million 
dollars,  and  San  Francisco  voted  a  bond  issue  of  the 
same  amount,  and  by  an  act  of  the  Legislature,  in  special 
session,  the  counties  were  authorized  to  levy  a  small  tax 
for  county  participation,  amounting,  in  estimate,  to  about 
three  million  dollars. 

RECOGNITION  FROM  CONGRESS 

Next  came  the  task  of  securing  from  Congress  official 
recognition  of  San  Francisco  as  the  site  of  the  Interna- 
tional Exposition  in  celebration  of  the  Panama  Canal. 

Headquarters  zvere  established  in  Washington.  Pres- 
ently serious  opposition  developed.  Emissaries  went  from 
San  Francisco  to  Washington  singly  and  in  delegations. 
Stress  zvas  laid  on  San  Francisco's  purpose  not  to  asli 
for  an  appropriation  from  the  national  government.  There 
zvere  several  cities  in  competition — Boston,  Washington, 
Baltimore  and  New  Orleans.  Neiv  Orleans  proved  the 
most  formidable  rival.  It  relied  on  the  strength  of  a 
united  Democracy  and  of  the  solid  South. 

In  the  hearings  before  the  Congressional  Committee  it 
was  made  plain  that  the  decision  zvould  go  to  the  city 
zvith  the  best  financial  shoziing.  As  soon  as  the  decision 
Zifas  announced  New  Orleans  entered  into  generous  co- 
operation zvith  San  Francisco. 

The  Exposition  zvas  on  the  way. 


3] 


THE  CITY  OF  DOMES 

NAMING  THE  PRESIDENT. 

The  offer  of  the  presidency  of  the  Exposition  Company 
was  made  to  a  well-knoiwi  business  man  of  San  Francisco, 
C.  C.  Moore.  Besides  being  able  and  energetic,  he  ^i'as 
agreeable  to  the  factions  created  by  the  graft  prosecution 
of  a  half  dozen  years  before.  Like  the  board  of  directors, 
he  was  to  serve  ivithoiit  salary.  He  stipulated  that  in  the 
conduct  of  the  work  there  should  be  no  patronage.  With 
the  directors  he  entered  into  an  agreement  that  all  ap- 
pointments should  be  made  for  merit  alone. 

CHOOSING  THE  SITE 

The  choice  of  site  was  difficult.  The  sites  most  favored 
were  Lake  Merced,  Golden  Gate  Park  and  Harbor  Vieiv. 
Lake  Merced  ivas  opposed  as  inaccessible  for  the  trans- 
portation both  of  building  materials  and  of  people,  and, 
through  its  inland  position,  as  an  umvise  choice  for  an 
Exposition  on  the  Pacific  Coast,  in  its  nature  supposed  to 
be  maritime.  The  use  of  the  park,  it  zvas  argued,  ivould 
desecrate  the  people's  recreation  ground  and  entail  a 
heavy  cost  in  leveling  and  in  restoring. 

Harbor  Viezv  and  the  Presidio  had  several  advantages, 
h  ivas  level.  It  was  within  two  miles  or  walking  distance 
of  nearly  half  the  city's  inhabitants.  It  stood  on  the  bay, 
close  to  the  Golden  Gate,  facing  one  of  the  most  beauti- 
fid  harbors  in  the  zvorld,  looking  across  to  Mount  Tamal- 
pais  and  backed  by  the  highest  San  Francisco  hills.  Of  all 
the  proposed  sites,  it  zims  the  most  convenient  for  landing 
material  by  zvater,  for  arranging  the  buildings  and  for 
maintaining  sanitary  conditions. 

After  a  somewlmt  bitter  public  controversy  the  Expo- 
sition directors,  in  July,  ipii,  announced  a  decision.  It 
caused  general  surprise.  There  should  be  three  sites: 
Harbor  Viezv  and  a  strip  of  the  adjoining  Presidio, 
Golden  Gate  Park  and  Lincoln  Park,  connected  by  a 
boulevard,  specially  constructed  to  skirt  the  bay  from  the 
ferry  to  the  ocean. 


[4] 


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>  3  >  :; 


INTRODUCTION 

That  plan  proved  to  be  somewhat  romantic.  The  boule- 
vard alone,  it  was  estimated,  would  cost  eighteen  million 
dollars. 

Harris  D.  H.  Connick,  the  assistant  city  engineer,  zvas 
called  on  as  a  representative  of  the  Board  of  Public 
Works,  and  asked  to  make  a  preliminary  survey  of  Har- 
bor View.  He  shoiwd  that,  of  the  proposed  sites.  Harbor 
View  would  be  the  most  economical.  The  cost  of  trans- 
porting lumber  would  be  greatly  reduced  by  having  it  all 
come  through  the  Golden  Gate  and  deposited  on  the  Har- 
bor Vieiv  docks.  The  expense  of  filling  in  the  small  ponds 
there  would  be  slight  in  comparison  zvith  the  expense  of 
leveling  the  ground  at  the  park. 

A  few  weeks  later  Harbor  View  and  the  Presidio  was 
definitely  decided  on  as  the  site,  and  the  only  site. 

For  months  agents  had  been  at  work  securing  options 
on  leases  of  property  in  Harbor  View,  coi'ering  a  little 
more  than  three  hundred  acres,  the  leases  to  run  into  De- 
cember, 1915.  Reasonable  terms  were  offered  and  in  one 
instance  only  luas  there  resort  to  condemnation.  The  suit 
that  follozved  forced  the  property  owner,  zvho  had  refused 
fifteen  hundred  dollars,  to  take  nine  hundred  dollars. 
President  Moore  zvas  tempted  to  pay  the  fifteen  hundred 
dollars,  but  he  decided  that  this  course  would  only  en- 
courage other  property  ozirners  to  be  extortionate.  Some 
trouble  zvas  experienced  zvith  the  Vanderbilt  properties, 
part  of  which  happened  to  be  under  zvatcr.  After  consid- 
erable negotiating  and  appeals  to  the  public  spirit  of  the 
ozvners,  it  zvas  adjusted.  About  seven  hundred  thousand 
dollars  was  paid  for  leases  and  about  three  hundred  thou- 
sand dollars  for  property  bought  outright. 

THE  DIRECTOR  OF  WORKS 

While  President  Moore  zvas  looking  for  the  man  he 
zvanted  to  appoint  as  head  of  the  board  of  construction, 
Harris  D.  H.  Connick  called  to  suggest  and  to  recom- 
mend another  man.  Later  the  president  offered  Connick 
the  position  as  director  of  works. 

[5] 


THE  CITY  OF  DOMES 

Connick  had  exactly  the  qualifications  needed:  experi- 
ence, youth,  energy,  skill  and  executizre  ability.  He  hesi- 
tated for  the  reason  that  he  happened  to  be  engaged  in 
public  zvork  that  he  unshed  to  finish.  But  he  was  made 
to  see  that  the  new  zvork  zvas  more  important.  He  re- 
moved all  the  buildings  at  Harbor  View,  about  i^o,  and 
he  ailed  in  the  ponds,  using  tzvo  million  cubic  yards  of 
mud  and  sand,  and  building  an  elaborate  system  of  sezv^ 
ers.  The  billing  in  took  about  si.r  months.  On  the  last  day 
mules  zi'ere  at  zi*ork  on  the  nezv  land.  And  zvithin  a  year 
the  ground  zvork  and  the  underground  zvork  zvas  finished. 

THE  ARCHITECTS 

Meanwhile,  President  Moore  asked  for  a  meeting  of 
the  San  Francisco  Chapter  of  the  American  Institute  of 
Architects,  zvith  more  than  2^0  members.  He  explained 
that  his  purpose  was  to  have  them  select  tzvelve  repre- 
sentatives from  zvhom  he  should  himself  appoint  Hve  to 
act  as  an  architectural  board.  When  the  board  zvas 
formed  zvith  Willis  Polk  at  its  head,  it  included  John 
Galen  Hozvard,  Albert  Pissis,  William  Curlett,  and  Clar- 
ence R.  Ward.  This  board  zvas  dissolved  and  an  executive 
council  composed  of  Polk,  Ward  and  W.  B.  Faville  zvas 
put  in  charge.  Later  it  gave  zvay  to  a  commission  consist- 
ing of  W.  B.  FazAlle,  Arthur  Brown,  George  W.  Kelliam, 
Louis  Christian  Midlgardt,  and  Clarence  R.  Ward,  of  San 
Francisco;  Robert  Farquhar,  of  Los  Angeles;  Carrere  Sr 
Hastings,  McKim,  Mead  &  White,  and  Henry  Bacon,  of 
New  York.  When  it  had  completed  the  preliminary  plans 
the  board  discontinued  its  meetings  and  G.  W.  Kelham 
zvas  appointed  Chief  of  Architecture. 

THE  BLOCK  PLAN 

At  the  first  meeting  President  Moore  explained  that, 
at  the  St.  Louis  Exposition,  according  to  zvide-expressed 
opinions,  the  buildings  had  been  too  far  apart.  He  favored 
maximum  of  space  zvith  minimum,  of  distance.  The  archi- 
tects first  considered  the  conditions  they  had  to  meet, 
climate  and  physical  surroundings.  They  zvere  mainly  in- 
fluenced by  zvind,  cold  and  rain. 

[6] 


THE  SITE  OF  THE  EXPOSITION  AS  IT 
APPEARED  BEFORE  THE  CONSTRUCTION  WAS 
BEGUN.  THE  PICTURE  ABOVE  SHOWS  THE  OLD 
LIFE-SAVING  STATION  AT  HIGH  TIDE.  THE 
LOWER  PICTURE  SHOWS  THE  GROUND  AFTER 
BEING   FILLED   IN. 


INTRODUCTION 

The  result  was  that  for  the  protection  of  visitors,  they 
agreed  to  follozv  what  zvas  later  to  be  generally  knoivn  as 
the  block  plan,  the  buildings  arranged  in  four  blocks, 
joined  by  covered  corridors  and  surrounded  by  a  wall, 
with  three  central  courts  and  Izvo  half-courts  in  the  south 
wall.^  It  had  been  developed  in  many  talks  among  the 
architects.  Valuable  suggestions  came  from  Willis  Polk 
and  from  E.  H.  Bennett,  of  Chicago,  active  in  the  earlier 
consultations.  The  plan  finally  accepted  was  the  joint 
ivork  of  the  entire  commission. 

Twelve  buildings  zvere  put  under  contract,  each  de- 
signed to  illustrate  an  epoch  of  architecture,  ranging  from 
the  severity  of  the  early  classic  to  the  ornate  French 
renaissance  of  to-day. 

THE  ARCHITECTURE 

From  the  start  it  was  realized  that,  vast  as  the  Exposi- 
tion was  to  be,  representing  styles  of  architecture  almost 
sensationally  different,  it  must  nevertheless  suggest  that 
it  was  all  of  a  piece.  The  relation  of  San  Francisco  to  the 
Orient  provided  the  clue.  It  zvas  fitting  that  on  the  shores 
of  San  Francisco  Bay,  zvhere  ships  to  and  from  the  Orient 
were  continually  plying,  there  should  rise  an  Oriental  city. 
The  idea  had  a  special  appeal  in  providing  a  reason  for 
extensive  color  effects.  The  bay,  in  spite  of  the  California 
sunshine,  somezvhat  bleak,  needed  to  be  helped  out  zvith 
color.  The  use  of  color  by  the  Orientals  had  abundantly 
justified  itself  as  an  integral  part  of  architecture.  The 
Greeks  and  the  Romans  had  accepted  it  and  applied  it 
even  in  their  statuary.  It  zvas,  moreover,  associated  zvith 
those  Spanish  and  Mexican  buildings  characteristic  of  the 
early  days  of  California  history. 

THE  GENERAL  ARRANGEMENT 

The  general  arrangement  of  the  Exposition  presented 
no  great  difficulties.  The  lay  of  the  land  helped.  Interest, 
of  course,  had  to  center  in  the  palaces  and  the  Festival 
Hall,  zvith  their  opportunities  for  architectural  display. 
They  naturally  took  the  middle  ground.  And,  of  course, 

[71 


THE  CITY  OF  DOMES 

they  had  to  be  near  the  State  buildings  and  the  foreign 
pavilions.  The  amusement  concessions,  it  zvas  felt,  ought 
to  be  in  a  district  by  themselves,  at  one  end.  Equal- 
ly sequestered  should  be  the  livestock  exhibit  and  the  avia- 
tion Held  and  the  race  track,  which  ivere  properly  placed 
at  the  opposite  end.  There  tvould  undoubtedly  be  many 
visitors  concerned  chiefty,  if  not  zvholly,  unth  the  central 
buildings.  If  they  chose,  they  coidd  visit  this  section  with- 
out going  near  the  other  sections,  carrying  away  in  their 
minds  memories  of  a  city  ideal  in  outline  and  in  coloring. 

CONSTRUCTION 

As  soon  as  the  plans  ivere  decided  on,  the  architects 
diznded  the  ivork  and  separated.  Those  zvho  had  come 
from  a  distance  went  home  and  in  a  few  months  submitted 
their  designs  in  detail.  A  feiv  months  later  they  returned 
to  San  Francisco  and  the  meetings  of  the  architectural 
board  zvere  resumed.  Soon  the  modifications  were  nmde 
and  the  practical  construction  zvas  ready  to  begin.  Inci- 
dentally there  were  compromises  and  heartburnings.  But 
limitations  of  funds  had  to  be  considered.  Finally  came 
the  question  of  the  tourer,  giving  zvhat  the  architects  called 
"the  big  accent."  There  zvere  those  zvho  favored  the  north 
side  for  the  location.  Others  favored  the  south  side.  After 
considerable  discussion  the  south  side  zvas  chosen.  At 
one  of  the  meetings,  Thomas  Hastings  did  quick  zvork 
zmth  his  pencil,  outlining  his  idea  of  zvhat  the  tower 
should  be.  Later,  he  submitted  an  elaborate  plan.  It  zvas 
rejected.  A  second  plan  zvas  rejected,  too.  The  third  zvas 
accepted.  It  cost  five  hundred  thousand  dollars. 

Designs  for  tzvo  magnificent  gateways,  to  be  erected  at 
the  approaches  to  the  Court  of  the  Ages  and  the  Court  of 
the  Four  Seasons  zvere  considered.  They  had  to  be  given 
up  to  save  expense. 

CLEARING  THE  LAND 

The  task  of  clearing  the  land  zvas  finished  in  a  fezv 
months.  In  addition  to  the  government  reserve,  the  Expo- 
sition had  sei'enty-six  city  blocks.  They  represented  two 

[8] 


INTRODUCTION 

hundred  parcels  of  land,  with  ly^  owners,  and  contained 
four  hundred  dzvellings,  hams  and  improvements.  Most  of 
the  buildings  ivere  torn  dozmt.  A  few  were  tised  else- 
where. Precautions  ivere  taken  to  re-enforce  with  piles 
the  foundations  of  the  buildings  and  of  the  heavy  exhibits. 

The  director  of  works  became  responsible  for  the  pur- 
chase of  all  the  lumber  to  be  used  in  building.  It  was 
bought  wholesale,  shipped  from  the  saimnills  and  delivered 
to  the  sites.  So  there  zvas  a  big  saving  here,  through  the 
buying  in  bulk  and  through  reduced  cost  in  handling  and 
hauling.  The  first  contracts  given  out  were  for  the  con- 
struction of  the  palaces.  An  estimate  tvas  made  of  the  ex- 
act number  of  feet  available  for  exhibits  and  charts  were 
prepared  to  keep  a  close  record  on  the  progress  of  the 
xvork.  Incidentally,  other  means  of  watching  progress 
consisted  of  the  amounts  paid  out  each  month.  During  the 
earlier  months  the  expenditures  ivent  on  at  the  rate  of  a 
million  a  month.  Ez>ery  three  weeks  a  contract  for  a  build- 
ing would  be  given  out.  The  same  contractors  figured  on 
each  building.  From  the  start  it  laas  understood  that  the 
iX'ork  should  be  done  by  union  men.  The  chief  exceptions 
were  the  Chinese  and  the  lapanese.  The  exhibitors  had 
the  privilege  of  bringing  their  own  men.  In  all  about  five 
thousand  men  were  employed,  working  either  eight  or 
nine  hours  a  day.  During  the  progress  of  the  tvork  there 
were  feiv  labor  troubles. 

One  zvise  feature  of  the  planning  lay  in  the  economy 
of  space.  It  succeeded  in  reaching  a  compactness  that 
made  for  convenience  zcnthout  leading  to  overcrowding. 
Great  as  this  Exposition  zcas  to  be,  in  its  range  worthy 
to  be  included  among  the  expositions  of  the  first  class, 
it  should  not  zveary  the  zHsitors  by  making  them  zvalk 
long  distances  from  point  to  point.  In  spite  of  its  mag- 
nitude, it  should  have  a  kind  of  intimacy. 

CHOICE  OF  MATERIAL 

There  zvere  certain  dangers  that  the  builders  of  the  Ex- 
position had  to  face.  One  of  the  most  serious  zvas  that 

[9] 


THE  CITY  OF   DOMES 

buildings  erected  for  temporary  use  only  might  look 
tatvdry.  It  was,  of  course,  impracticable  to  use  stone. 
The  cost  tifotdd  have  been  prohibitive,  and  plaster  might 
have  made  the  gorgeous  palaces  hardly  more  than  cheap 
mockeries. 

Under- the  circumstances  it  was  felt  that  some  new  ma- 
terial must  be  devised  to  meet  the  requirements.  Already 
Paid  E.  Denneville  had  been  successfid  in  zvorking  with 
material  made  in  imitation  of  Travertine  'tnarble,  used  in 
many  of  the  ancient  buildings  of  Rome,  very  beautiful  in 
texture  and  peculiarly  suited  to  the  kind  of  building  thai 
needed  color.  He  it  was  zuho  had  used  the  material  in  the 
Pennsylvania  Station,  New  York,  in  the  upper  part  of  the 
walls.  After  a  good  deal  of  experimenting  Denneville  had 
found  thai  for  his  purpose  gypsum  rock  was  most  service- 
able. On  being  ground  and  colored  it  could  be  used  as  a 
plaster  and  made  to  seem  in  texture  so  close  to  Travertine 
marble  as  to  be  almost  indistinguishable.  The  results  per- 
fectly justified  his  faith.  As  the  palaces  rose  from  the 
ground,  making  a  magnificent  zvalled  city,  they  looked 
solid  and  they  looked  old  and  they  had  distinct  character. 
Moreover,  through  having  the  color  in  the  texture,  they 
would  not  shotv  broken  and  ragged  surfaces. 

THE  COLOR  SCHEME 

For  the  color-effects  it  was  felt  that  just  the  right  man 
must  be  found  or  the  result  zvould  be  disastrous.  The 
choice  fell  on  Jules  Guerin,  long  accepted  as  one  of  the 
finest  colorists  among  the  painters  of  his  time.  He  fol- 
lowed the  guidance  of  the  natural  conditions  surrounding 
the  Exposition,  the  hues  of  the  sky  and  the  bay,  of  the 
mountains,  varying  from  deep  green  to  taivny  yellow, 
and  of  the  morning  and  evening  light.  And  he  worked, 
too,  with  an  eye  on  those  effects  of  illumination  that 
shoidd  make  the  scene  fairyland  by  night,  utilising  even 
the  tones  of  the  fog. 


[lO] 


o  w  C  "  o 

>«    M    O   ^    -fl 

,  5-  o  tj 

S  ^  i^  n  d 
W  H  ~  5  W 

W  •<  2  H  « 

1-1  5  "•  J  f 
i5      * 

:^5* 

S  5  a 

2  3     M  o 

G  2  H  2  (3 

•"  a "  ^  G 


-1  H   <  O  »> 

M  w  5  2  " 

2  5" 

.  „  M  >   W 

«  «  o  " 


3> 


H  o  -  '.  >-• 

M  se  >4  o  S 

c5  c  as  M 

a  M  »"  «  M 

m  n  „  2 


o  «  ~ 
«  "  11 


[^    Id     M 


I-)  M  H 

M  es  i 

«  r  '3 

C  "  3 


«  o  »  d 

o  ^  o  ->  5! 

„  r  <  a  M 

3  .«  S  "  o 


r  »o  2 


B,  M  s 

c:  w  a 

O  PI  o 

g  w> 

H  2  W 

w  n  J 

a  M  3 


<  3  S  e  * 

H  n  c  g  w 

fi  ta  2  M 

o  «  r  G  g 

5  «  H  ".H 

•-  o  w  II  *; 

«fl  <«  2  (3  o 

r  o  o  as  g 

H  o  n  5  a 


INTRODUCTION 

THE  PLANTING 

There  was  no  difficulty  in  finding  a  man  best  suited  to 
plan  the  garden  that  was  to  serve  as  the  Exposition's 
setting.  For  many  years  John  McLaren  had  been  known 
as  one  of  the  most  distinguished  horticulturists  in  this 
part  of  the  world.  As  superintendent  of  Golden  Gate  Park 
he  had  given  iine  service.  Moreover,  he  was  familiar  zvith 
the  conditions  and  understood  the  resources  and  the  pos- 
sibilities. Of  course  a  California  exposition  had  to  main- 
tain California's  reputation  for  natural  beauty.  It  must  be 
placed  in  an  ideal  garden,  representing  the  marvelous  en- 
dowment of  the  State  in  trees  and  shrubs  and  plants  and 
Hozvers  and  showing  what  the  climate  could  do  even  with 
alien  grozvths. 

The  first  step  that  McLaren  took  zvas  to  consult  the 
architects.  They  explained  to  him  the  court  plan  that  they 
had  agreed  on  and  they  gave  him  the  dimensions  of  their 
buildings.  Against  zvalls  sixty  feet  high  he  planned  to 
place  trees  that  should  reach  nearly  to  the  top.  For  his 
purpose  he  found  four  kinds  of  trees  most  serviceable: 
the  eucalyptus,  the  cypress,  the  acacia  and  the  spruce.  In 
his  search  for  what  he  zvanted  he  did  not  confine  himself 
to  California.  A  good  many  trees  he  brought  doivn  from 
Oregon.  Some  of  his  best  specimens  of  Italian  cypress 
he  secured  in  Santa  Barbara,  in  Monterey  and  in  San 
Jose.  He  also  drezv  largely  on  Golden  Gate  Park  and  on 
the  Presidio.  In  all  he  used  about  thirty  thousand  trees, 
more  than  two- thirds  eucalyptus  and  acacia. 

PREPARING  THE  LANDSCAPE 

Two  years  before  the  Exposition  zvas  to  open  McLaren 
built  six  greenhouses  in  the  Presidio  and  a  huge  lath 
house.  There  he  assembled  his  shrubs,  his  plants,  and  his 
bulbs.  In  all  he  must  have  used  nearly  a  million  bulbs. 
From  Holland  he  imported  seventy  thousand  rhododen- 
drons. From  Japan  he  brought  tzvo  thousand  azaleas.  In 
Brazil  he  secured  some  zvonderful  specimens  of  the  cine- 
raria. He  even  sent  to  Africa  for  the  agrapanthics,  that 

[II] 


THE  CITY  OF   DOMES 

grezi^  close  to  the  Nile.  Among  native  floivers  he  collected 
six  thousand  pansies,  ten  thousand  veronicas  and  five 
thousand  jnnipers,  to  mention  only  a  fetv  among  the  multi- 
tude of  fJowers  that  he  intended  to  use  for  decoration. 
The  grounds  he  had  carefidly  mapped  and  he  studied  the 
landscape  and  the  shape  and  color  of  the  buildings  sec- 
tion by  section. 

The  planting  of  trees  consumed  many  months.  The  best 
effects  McLaren  found  he  could  get  by  massing.  He  zvas 
particidarly  successful  with  the  magnificent  Fine  Arts 
Palace,  both  in  his  groupings  and  in  his  use  of  individual 
trees.  About  the  lagoon  he  did  some  particularly  attract- 
ive planting,  utilising  the  zvater  for  rejection.  There  zvas 
a  tzvisted  cypress  that  he  placed  alone  against  the  colon- 
nade zvith  a  skill  that  showed  the  insight  and  the  feeling 
of  an  artist.  On  the  zvater  side,  the  Marina,  he  used  the 
trees  to  break  the  bareness  of  the  long  esplanade.  And 
here  and  there  on  the  grounds,  for  pure  decoration,  he 
reached  some  of  his  finest  effects  zvith  the  eucalyptus,  for 
ivhich  he  evidently  had  a  particular  regard.  As  no  Cali- 
fornia Exposition  zvould  be  complete  zvithout  palm  trees, 
provision  zvas  made  for  the  decorative  use  of  palms  along 
one  of  the  main  walks. 

About  two  zveeks  before  the  opening  the  first  planting 
of  the  gardens  zvas  completed,  the  first  of  the  three  crops 
to  be  displayed  during  the  Exposition.  The  flowers  in- 
cluded most  of  the  spring  fiozvers  grozvn  here  in  Califor- 
nia or  capable  of  thriving  in  the  California  spring  cli- 
tnate.  In  June  they  zvere  to  be  replaced  zvith  geraniums, 
begonias,  asters,  gilly-flozvers,  foxglove,  hollyhocks,  lilies 
and  rhododendrons.  The  autumn  display  would  include 
cosmos  and  chrysanthemums  and  marguerites. 

THE  HEDGE 

As  the  zvork  proceeded,  W.  B.  Faville,  the  architect,  of 
Bliss  and  Faville,  made  a  suggestion  for  the  building  of  a 
fence  that  should  look  as  if  it  zvere  moss-covered  zvith 
age.  The  result  was  that  developing  the  suggestion  Mc- 

[12] 


5  n       !«  o  o  z  5 
"as     "^  a  q  § 


<i  z;  Q 

a  2  o 


>  -) 


2  >^  n 

n  -  ^  O  ^  ^ 

<  5  >  ^^  »  • 

"  >  w  r  i"  n 

cA  H  o  n  m 

»  <  2  "I  >  "• 

;  r:  M  "  .  S  » 

;   n   ^   _,  O  —  G 

'  n  *  5  •«  K  o 

5  S  O   -I  H  _  " 

8  2  >  5  "  •<  ^ 

=  o?%5r 

2  ™  n  "*  z  "* 

;  m  o  2  o  2  * 

-<  5  a  =*  5 

Sa"  5 


INTRODUCTION 

Laren  devised  a  new  kind  of  hedge  likely  to  be  used  the 
world  over.  It  zvas  made  of  boxes,  six  feet  long  and  tzvo 
feet  zinde,  containing  a  tzvo-inch  layer  of  earth,  held  in 
place  by  a  zvire  netting,  and  planted  zinth  South  African 
dezv  plant,  dense,  green  and  hardy  and  thrizHng  in  this 
climate.  Those  boxes,  zvhen  piled  to  a  height  of  several 
feet,  made  a  rustic  zvall  of  great  beauty.  Moreover,  they 
could  be  continuously  irrigated  by  a  one-inch  perforated 
line  of  pipe.  In  certain  lights  the  zvatcr  trickling  through 
the  leaves  shimmered  like  gems.  In  summer  the  plant 
zvould  produce  }nasses  of  small  purple  Hozvers. 

McLaren  found  his  experiment  so  successful  that  he 
decided  to  build  a  hedge  twenty  feet  high,  extending 
more  than  a  thousand  feet.  He  also  used  the  hedge  ex- 
tensivelv  in  the  landscape  design  for  the  Palace  of  Fine 
Arts. 

THE  SCULPTORS 

The  department  of  sculpture  zcas  placed  under  the  di- 
rection of  one  of  the  most  distinguished  sculptors  in  the 
country,  Karl  Bitter,  of  Nezt'  York,  zchose  death  from  an 
automobile  accident  took  place  a  feiv  zvecks  after  the  Ex- 
position opened.  He  gathered  around  him  an  extraordi- 
nary array  of  co-operators,  including  many  of  the  most 
brilliant  names  in  the  zvorld  of  art,  zviih  A.  Stirling 
Caldcr  as  the  acting  chief,  the  man  on  the  ground. 
Though  he  did  not  contribute  any  zi'ork  of  his  onm,  he 
zi'as  active  in  developing  the  zvork  as  a  zvhole,  taking 
special  pains  to  keep  it  in  character  and  to  see  that,  even 
in  its  diversity,  it  gave  the  impression  of  harmony. 

Caldcr  zvelcomed  the  chance  to  zi'ork  on  a  big  scale  and 
to  carry  out  big  ideas.  With  Bitter  he  zisited  San  Fran- 
cisco in  August,  IQI2,  for  a  consultation  zdth  the  archi- 
tectural commission.  Minutely  they  zvent  over  the  site 
and  examined  the  architectural  plans.  Then  they  picked 
the  scidptors  that  they  zvished  to  secure  as  co-operators. 

In  December,  1912,  Bitter  and  C alder  made  another 
zisit  to  San  Francisco  for  further  conferring  mth  the 

[13] 


THE  CITY  OF   DOMES 

architectural  commission,  bearing  sketches  and  scale  mod- 
els. Bitter  explained  his  plans  in  detail  and  asked  for  an 
appropriation.  He  zi'as  iold  that  he  should  he  granted  six 
hundred  thousand  dollars.  The  amount  zvas  gradually  re- 
duced till  it  finally  reached  three  hundred  and  seventy-five 
thousand  dollars. 

It  zvas  at  this  period  that  C alder  submitted  his  plan  for 
the  Column  of  Progress.  He  had  worked  it  out  in  New 
York  and  had  the  scale  models  made  by  MacNeil  and 
Konti.  It  won  the  approval  of  McKim,  Mead  &  White, 
tuho  declared  that  it  made  an  ideal  feature  of  the  approach 
from  the  bay  side  to  their  Court  of  the  Universe,  then 
called  the  Court  of  the  Sun  and  Stars. 

The  next  few  months  of  preparation  in  New  York 
meant  getting  the  sculptors  together  and  n'orking  out  the 
designs.  The  first  meeting  of  the  sculptors  took  place  in 
January,  1913,  in  Bitter's  studio,  ivith  a  remarkable  array 
of  personages  in  attendance,  including  D.  C.  French, 
Herbert  Adams,  Robert  Aitken,  James  E.  Fraser,  H.  A. 
MacNeil,  A.  A.  Weinman,  Mahonri  Young,  Isidore  Konti, 
Mrs.  Burroughs  and  several  others.  In  detail  Bitter  ex- 
plained the  situation  in  San  Francisco  and  outlined  his 
ideas  of  ivhat  ought  to  be  done.  Already  Henry  Bacon 
had  sent  in  his  design  for  his  Court  of  the  Four  Seasons 
and  sculptors  were  set  to  work  on  its  ornamentation, 
Albert  Jaegers,  Furio  Piccirilli,  Miss  Evelyn  Beatrice 
Longman  and  August  Jaegers,  a  time  limit  being  made 
for  the  turning  in  of  their  plans. 

DEVELOPING  THE  SCULPTURE 

•  In  June,  1913,  Colder  returned  to  San  Francisco  to  stay 
till  the  Exposition  zvas  zvell  started.  On  the  grounds  he 
established  a  huge  zvorkshop.  Then  he  began  the  practical 
developing  of  the  designs,  a  great  mass,  which  had  al- 
ready been  carefully  sifted.  Hitherto,  in  American  expo- 
sitions, the  work  had  been  done,  for  the  most  part,  in  Nezv 
York,  and  sent  to  its  destination  by  freight,  a  method 

[14] 


INTRODUCTION 

costly  in  itself  and  all  the  more  costly  on  account  of  the 
inevitable  breakage.  San  Francisco,  by  being  so  far  from 
Nezv  York,  zvould  hai>e  been  a  particidarly  expensive  des- 
tination. From  every  point  of  vieiv  it  seemed  imperative 
that  the  work  shoidd  be  done  here. 

In  a  few  zveeks  that  shop  was  a  hive  of  industry,  with 
sculptors,  students  of  scidpture  from  the  art  schools, 
pointers,  and  a  multitude  of  other  white-clad  workers 
bending  all  their  energies  toward  the  completion  on  time 
of  their  colossal  task.  A  few  of  the  sculptors  and  artisans 
Calder  had  brought  from  Nezv  York.  But  most  of  the 
zvorkers  he  secured  in  San  Francisco,  chiefly  from  the 
foreign  popidation,  some  of  them  able  to  speak  little  or  no 
English. 

The  modeling  of  the  replicas  of  well-knozvn  art  works 
were,  almost  without  exception,  made  in  clay.  Most  of  the 
original  zvork  was  directly  modelled  in  plaster-staff  used 
so  successfully  throughout  the  Exposition.  For  the  en- 
larging of  single  pieces  and  groups  the  pointing  machine 
of  Robert  Paine  was  chosen  by  Calder.  It  zvas  interesting 
to  see  it  at  work,  under  the  guidance  of  careful  and  pa- 
tient operators,  tracing  mechanically  the  outlines  and  re- 
producing them  on  a  magnified  scale.  For  the  finishing 
of  the  friezes  the  skill  of  the  artist  zvas  needed,  and  there 
Calder  found  able  assistants  in  the  two  young  sculptors, 
Roth  and  Lentelli,  zvho  zvorked  devotedly  themselves  and 
directed  groups  of  students. 

In  all  the  sculpture  Calder  strove  to  keep  in  mind  the 
significance  of  the  Exposition  and  the  spirit  of  the  people 
zvho  were  celebrating.  With  him  styles  of  architecture 
and  schools  zvere  a  minor  consideration,  to  be  left  to  the 
academicians  and  the  critics.  He  believed  that  sculpture, 
like  all  other  art-forms,  zvas  chiefly  valuable  and  interest- 
ing as  human  expression. 

THE  DECORATIVE  FIGURES 

Less  successful  on  the  whole  than  the  blending  of 
sculpture  and  architecture  zvere  the  individual  figures  de- 

[iSl 


THE  CITY  OF   DOMES 

signed  to  be  placed  against  the  icalls.  Some  of  them  ii*ere 
extremely  Zi'cll  done.  Others  were  olrrions  disappoint- 
ments. The  unsophisticated  judgment,  free  from  Conti- 
nental bias,  might  hai'c  objected  to  the  almost  gratuitous 
use  of  nudity.  For  a  popular  exhibition,  even  the  imdely- 
trarcled  and  broad-minded  art  lover  might  hai'e  been  per- 
suaded that  a  concession  to  prejudice  could  have  been 
made  without  any  great  damage  to  art. 

In  the  magnificent  entrance  to  the  grounds  it  was 
deemed  fittitig  that  the  meaning  of  the  Exposition  should 
be  symbolized  by  an  elaborate  fountain.  So  in  the  heart 
of  the  South  Gardens  there  was  placed  the  Fountain  of 
Energy,  the  design  of  A.  Stirling  C alder,  the  athletic 
figure  of  a  youth,  mounted  on  a  fiery  horse,  tearing  across 
the  globe,  which  served  for  pedestal,  the  symbolic  figures 
of  I'alor  and  Fame  accompanying  on  either  side.  The 
work  as  a  whole  suggested  the  triumph  of  man  in  over- 
coming the  difficulties  in  the  way  of  uniting  the  two 
oceans.  It  made  one  of  the  most  striking  of  all  the  many 
fountains  on  the  grounds,  the  dolphins  in  the  great  basin, 
some  of  them  carrying  female  figures  on  their  backs,  con- 
tributing to  an  effect  peculiarly  French. 

TPIE  COLUMN  OF  PROGRESS 

The  Column  of  Progress,  suggested  by  Colder  and 
planned  in  outline  by  Symmes  Richardson,  besides  being 
a  beautiful  symbol  and  remarkably  successful  in  outline, 
7i'as  perhaps  the  most  poetic  and  original  of  all  the 
achievements  of  the  sculptors  here.  It  represented  some- 
thing new  in  being  the  first  great  column  erected  to 
express  a  purely  imaginative  and  idealistic  conception. 
Most  columns  of  its  kind  had  celebrated  some  great  figure 
or  historic  feat,  usually  related  to  zi'ur.  But  this  column 
stood  for  those  sturdy  virtues  that  zvere  developed,  not 
through  the  hazards  and  the  excitements  and  the  fevers 
of  conquest,  but  through  the  persistent  and  homely  tests 
of  peace,  through  the  cultivation  of  those  qualities  that 
laid   the  foundations   of  civilised  lining.   Isidore   Konti 

[i6] 


INTRODUCTION 

designed  the  frieze  typifying  the  swarming  generations, 
by  Matthezv  Arnold  called  "the  teeming  millions  of  men," 
and  to  Hermon  A.  MacNeil  fell  the  task  of  developing  the 
circtdar  frieze  of  toilers,  sustaining  the  group  at  the  top, 
three  strong  figures,  the  dominating  male,  ready  to  shoot 
his  arroiv  straight  to  its  mark,  a  male  supporter,  and  the 
devoted-iuoman,  eager  to  folloiv  in  the  path  of  advance. 

THE  AIM  OF  THE  SCULPTORS 

It  was  evidently  the  aim  of  the  sculptors  to  express  in 
their  zvork,  in  so  far  as  they  could,  the  character  of  the 
Exposition.  And  the  breadth  of  the  plans  gave  them  a 
wide  scope.  They  must  have  zvelcomed  the  chance  to  exer- 
cise their  art  for  the  pleasure  of  the  multitude,  an  art 
essentially  popular  in  its  appeal  and  certain  to  be  more 
and  more  cidtivated  in  our  every-day  life.  Though  this 
new  city  zvas  to  be  for  a  year  only,  it  zvould  surely  in- 
fluence the  interest  and  the  taste  in  art  of  the  multitudes 
destined  to  become  familiar  zvith  it  and  to  carry  azvay 
more  or  less  znznd  impressions. 

The  scidpture,  too,  would  have  a  special  advantage. 
Much  of  it,  after  the  Exposition,  could  be  transferred 
elsezvhere.  It  zvas  safe  to  predict  that  the  best  pieces 
zvotdd  tdtimately  serve  for  the  permanent  adornment  of 
San  Francisco — by  no  means  rich  in  monuments. 

MURAL  PAINTING 

It  was  felt  by  the  builders  of  the  Exposition  that  mural 
decorating  must  be  a  notable  feature. 

The  Centennial  Exposition  of  '^6  had  been  mainly  an 
expression  of  engineering.  Sixteen  years  later  architec- 
ture had  dominated  the  Exposition  in  Chicago.  The  Expo- 
sition in  San  Francisco  zvas  to  be  essentially  pictorial, 
combining,  in  its  exterior  building,  architecture,  sculp- 
ture and  painting. 

When  Jules  Guerin  zvas  selected  to  apply  the  color  it 
was  decided  that  he  shordd  choose  the  mural  decorators, 

[17] 


THE  CITY  OF   DOMES 

subject  to  the  approval  of  the  architectural  hoard.  The 
choice  fell  on  men  already  distinguished,  all  of  them  be- 
longing to  New  York,  unth  tzvo  exceptions,  Frank  Brang- 
wyn,  of  London,  and  Arthur  Mathews,  of  San  Francisco, 
They  were  informed  by  Giierin  that  they  could  take  their 
02im  subjects.  He  contented  himself  ztnth  saying  that  a 
subject  unth  meaning  and  life  in  it  zvas  an  asset. 

In  Nezv  York  the  painters  had  a  conference  ziith 
Gticrin.  He  explained  the  conditions  their  zvork  zcas  to 
meet.  Emphasis  zvas  laid  on  the  importance  of  their  paint- 
ing zvith  reference  to  the  tone  of  the  Travertine.  They 
zvere  instructed,  moreozfer,  to  paint  zmthin  certain  colors, 
in  harmony  zvith  the  general  color-scheme,  a  restriction 
that,  in  some  cases,  must  have  presented  difficult  problems. 

The  preliminary  sketches  zvere  submitted  to  Guerin, 
and  from  the  sketches  he  fixed  the  scale  of  the  figures. 
In  one  instance  the  change  of  scale  led  to  a  change  of 
subject.  The  second  sketches  zvere  made  on  a  larger 
scale.  When  they  zvere  accepted  the  decorators  zvere  told 
that  the  final  canvases  zvere  to  be  painted  in  San  Fran- 
cisco in  order  to  make  sure  that  they  did  not  conflict  zvith 
one  another  and  that  they  harmonized  zvith  the  general 
plan  of  the  Exposition.  Nearly  all  the  murals  zvere  fin- 
ished in  Machinery  Hall;  but  most  of  them  had  been 
started  before  they  arrived  there. 

PAINTING  FOR  OUT-DOORS 

Some  concern  zvas  felt  by  the  painters  on  account  of 
their  lack  of  experience  in  painting  for  out-of-doors. 
There  zvas  no  telling,  ez'en  by  the  most  careful  estimate, 
hozv  their  canvases  zvould  look  zvhen  in  place.  Color  and 
design  impressive  in  a  studio  might,  zvhen  placed  beside 
zngorous  architecture,  become  zveak  and  pale.  Besides,  in 
this  instance,  the  murals  zvould  meet  nezv  conditions  in 
having  to  harmonise  zvith  architecture  that  zvas  already 
highly  colored.  Furthermore,  no  tzvo  of  the  canvases 
zvould  meet  exactly  the  same  conditions  and,  as  a  result 

[i8] 


"air"  and  "fire,"  two  of  the  four  massive  croups  of 
sculpture  in  the  court  of  the  universe.  by  robert 
aitken.    in  size  and  vigor  like  the  work  of  michael 
ancrlo.    the  wings  of  the  upper  figure  and  the  birds 
symbolize  the  meaning.    in  the  lower  group  the 
spirit  of  fire  is  suggested  by  the  salamander,  in 
front  of  the  man,  the  line  of  whose  figure  is  car- 
ried into  the  gr/«co-roman  helmet  and  whose  pose, 
in  grace  and  power,  suggests  the  figure  op  theseus 

IN   THE  PEDIMENT  Or  THE  PARTHENON. 


INTRODUCTION 

of  the  changes  in  light  and  atmospheric  effects,  the  con- 
ditions would  be  subject  to  continual  change.  Finally, 
they  were  obliged  to  work  wnthout  precedent.  It  zvas  true 
that  the  early  Italians  had  done  murals  for  the  open  air, 
but  no  examples  had  been  preserved. 

That  the  painters  were  able  to  do  as  well  as  they  did 
under  the  limitations  reflected  credit  on  their  adaptability 
and  good  hunwr.  The  truth  zcas  they  felt  the  tremendous 
opportunity  afforded  their  art  by  this  Exposition.  They 
beliez-'ed  that  in  a  peculiar  sense  it  testified  to  the  value  of 
color  in  design.  It  represented  a  neiv  movement  in  art, 
with  far-reaching  possibilities  for  the  future.  That  some 
of  them  suffered  as  a  result  of  the  limiting  of  initiative 
and  indizHduality,  of  subordination  to  the  general  scheme, 
zi'as  unquestionable.  Some  of  the  canvases  that  looked 
strong  and  tine  z^'hen  they  were  assembled  for  the  last 
touches  in  Machinery  Hall  became  anaemic  and  insig- 
nificant on  the  zvalls.  Those  most  successfully  met  the  test 
zi'here  the  colors  zvere  in  harmony  zvith  Guerin's  coloring 
and  zcliere  they  zvere  in  themselves  strong  and  where  the 
subjects  zcere  dramatic  and  zigorously  handled.  The  alle- 
gorical and  the  primitiz'e  subjects  failed  to  carry,  first  be- 
cause they  had  little  or  no  real  significance,  and  secondly 
because  the  spirit  behind  them  zcas  lacking  in  appeal  and, 
occasionally,  in  sincerity. 

In  one  regard  Frank  Brangzvyn  zvas  more  fortunate 
than  the  other  painters.  His  murals,  though  intended  to 
be  displayed  in  the  open  air,  zvere  to  hang  in  sequestered 
corners  of  the  corridors  running  around  the  Court  of  the 
Ages,  the  court,  moreoz'er,  that  ziHis  to  have  no  color. 
Besides,  there  zvere  no  colors  in  the  zvorld  that  could  suc- 
cessfully compete  against  his  pozverful  blues  and  reds. 

THE  LIGHTING 

The  lighting  of  the  Exposition,  it  was  determined, 
should  be  given  to  the  charge  of  the  greatest  expert  in  the 
country.  Several  of  the  leading  electric  light  companies 
were  consulted.  They  agreed  that  the  best  man  was  Wal- 

[191 


THE  CITY  OF   DOMES 

ter  D'Arcy  Ryan,  who  had  managed  the  lighting  at  the 
Hudson-Fulton  Celebration  and  at  the  Niagara  Falls  Ex- 
position. Mr.  Ryan  explained  his  system  of  veiled  lighting, 
ivith  the  source  of  the  light  hidden,  and  made  plain  its 
suitability  to  an  Exposition  where  the  artistic  features 
"were  to  be  notable,  and  where  they  zvere  to  be  emphasised 
at  night,  with  the  lighting  so  diffused  as  to  avoid 
shadows.  After  his  appointment  as  director  of  illuminat- 
ing he  made  several  visits  to  San  Francisco,  and  a  year  be- 
fore the  opening  of  the  Exposition,  he  returned  to  stay 
till  the  close.  His  plan  of  ornamenting  the  main  toiuer 
zmth  large  pieces  of  cut  glass,  of  many  colors,  to  shine 
like  jewels,  created  wide-spread  interest  on  account  of  its 
novelty.  It  ivas  generally  regarded  as  a  highly  original 
and  sensational  Exposition  feature. 

WATCHING  THE  GROWTH 

As  the  building  went  on  the  San  Franciscans  gradually 
became  alive  to  the  splendor.  Each  Sunday  many  thous- 
ands li'ould  assemble  on  the  grounds.  About  a  year  before 
the  date  set  for  the  opening  an  admission  fee  of  tiventy- 
five  cents  brought  several  thousands  of  dollars  each  tveek. 
On  the  Sundays  zchen  Lincoln  Beachey  made  his  sensa- 
tional flights  there  would  often  be  not  less  than  fifty 
thousand  people  looking  on. 

THE  WALLED  CITY 

//  there  zvere  any  critics  zvho  feared  that  the  zvalled 
city  might  present  a  certain  monotony  of  aspect  they  did 
not  take  into  account  the  Oriental  luxuriance  of  the  en- 
trances, breaking  the  long  lines  and  making  splendid 
contrast  of  design  and  of  color.  Those  entrances  alone 
zvere  zvorth  minute  study.  Besides  being  beautiful,  they 
had  historic  signiUcance.  Furthermore,  the  long  zmlls 
zvere  broken  by  artistically  designed  zvindozvs  and  by 
groups  of  trees  running  along  the  edge.  Within  the  zvalls, 
in  the  splendidly  zvrought  courts,  utility  zvas  made  an  ex- 
pression of  beauty  by  means  of  the  impressive  colonnades. 


[20] 


INTRODUCTION 

solid  rows  of  colmnns,  delicately  colored,  suitable  for 
promenading  and  for  protection  against  rain. 

From  the  hills  looking  down  on  the  bay  the  Exposition 
began  to  seem  somewhat  huddled.  But  the  nearer  one 
approached,  the  plainer  it  became  that  this  effect  zvas  mis- 
leading. On  the  grounds  one  felt  that  there  teas  plenty  of 
room  to  move  about  in.  And  there  tvas  no  sense  of  incon- 
gruity. Very  adroitly  styles  of  architecture  that  might 
have  seemed  to  be  alien  to  one  another  and  hostile  had 
been  harmoniously  blended.  Here  the  color  zvas  a  great 
help.  It  made  the  Exposition  seem  all  of  a  piece. 

THE  WAR 

In  the  summer  of  1914  the  Exposition  received  what, 
for  a  brief  time,  looked  like  a  crushing  blow  in  the  dec- 
laration of  zi'ar.  Hozv  could  the  zvorld  be  interested  in 
such  an  enterprise  zifhen  the  great  nations  of  Europe  were 
engaged  in  what  might  prove  to  be  the  most  deadly  con- 
flict in  history  f 

The  directors,  in  reviezving  the  situation,  sazv  that,  far 
from  being  a  disadvantage  in  its  effect  on  their  plans,  the 
war  might  be  an  advantage.  In  the  first  place,  it  would 
keep  at  home  the  great  army  of  American  travelers  that 
zvent  to  Europe  each  year.  With  their  fondness  for  roatn- 
ing,  they  zvould  be  almost  certain  to  be  drazim  to  this  part 
of  the  world.  And  besides,  there  zi'ere  other  travelers  to  be 
considered,  including  those  Europeans  zvho  would  be  glad 
to  get  away  from  the  alarms  of  zi'ar  and  those  South 
Americans  zvho  were  in  the  habit  of  going  to  Europe. 
Furthermore,  though  the  Exposition  had  been  designed 
to  commemorate  the  services  of  the  United  States  Army 
in  building  the  Panama  Canal,  it  zvas  essentially  dedi- 
cated to  the  arts  of  peace.  It  zvould  shozv  zvhat  the  zvorld 
could  do  when  men  and  nations  co-operated. 

THE  DEPARTMENT  OF  FINE  ARTS 

Meanzvhilc,  the  zvar  zvas  upsetting  the  plans  for  the 
exhibits,  notably  the  exhibit  of  painting  and  sculpture. 

[21] 


THE  CITY  OF   DOMES 

When  John  E.  D.  Trask,  for  many  years  director  of 
the  Pennsylvania  Academy  of  Fine  Arts,  was  appointed 
Director  of  the  Fine  Arts  Department  at  the  Panama-Pa- 
cific International  Exposition,  he  had  made  a  careful  sur- 
vey of  the  field  he  had  to  cover.  It  virtually  consisted  of 
the  zvhole  civiliced  zuorld.  After  arranging  for  the  forma- 
tion of  committees  in  the  leading  cities  of  the  East  and  the 
Middle  West  to  secure  American  work,  he  made  a  trip  to 
Europe,  visiting  England,  France,  Holland,  Szveden,  Ger- 
many, Hungary,  Austria  and  Italy.  With  the  exception 
of  England  and  Germany,  the  governments  were  sym- 
pathetic. The  indifference  of  those  tzvo  countries  at  the 
time  zvas  not  quite  comprehensible.  There  might  have 
been  several  explanations,  including  the  threat  of  zvar. 
There  were  also  those  zvho  said  that  England  and  Ger- 
many had  entered  into  a  secret  alliance  against  this 
country  for  the  purpose  of  minimising  the  American  in- 
fiuence  in  commerce,  soon  to  be  strengthened  by  the 
opening  of  the  Panama  Canal.  Wherever  the  truth  lay, 
the  fact  remained  that  both  countries  maintained  their 
attitude  of  indifference.  Individual  English  and  German 
artists  and  organisations  of  artists,  hou'ever,  showed  a 
willingness  to  co-operate. 

Through  emissaries,  mainly  unofficial,  Americans  of  in- 
fluence, Trask  drezv  on  the  resources  of  all  Europe.  He 
also  entered  into  negotiations  zvith  China  and  Japan,  both 
of  which  countries,  zcith  their  devotion  to  art,  as  might 
have  been  expected,  co-operated  zvith  enthusiasm.  The 
display  at  the  Fine  Arts  Palace  promised  to  make  one  of 
the  greatest  international  exhibits  in  history,  if  not  the 
greatest. 

At  the  outbreak  of  the  zvar  it  looked  as  if  the  zvhole  of 
Europe  might  become  inz'olved  and  it  might  be  impossible 
to  secure  anything  that  coidd  properly  be  called  a  Euro- 
pean art  exhibit.  Meanzvhile,  the  space  reserved  for  the 
European  exhibitors  must  be  filled.  It  happened  that,  at 
the  time,  Trask  zvas  in  the  East.  He  quickly  put  himself 

[22] 


^1 

I^^I^ViHHH 

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^^^^^^^^^^^^^V*  "^i&^^B^^^^^^^^^I 

W^r^J 

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■Jv^^ 

tlJSI-.i^<CTr^  jwr'^yftM 

^•''JjM 

Hi 

iPwMI 

in 

■ 

■ 

^^■jPH 

m^mk^mW^li 

^^E^^l 

Li- Jcti 

^mMp^Myw/lt^ 

l^Ha^VT  "^ ^^SM 

1^3 

^B^SikI  s 

*^8^^H'  ^n^^^H 

Km 

^^ 

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"^"^^H^w' 

WM 

Wr?/^    • 

THE    NATIONS  OF  THE  WEST   AND   THE    NATIONS  OF   THE   EAST   ON    THE 
TWO    TRIUMPHAL    ARCHES    FACING    THE    COURT    OF    THE    UNIVERSE, 
DESIGNED    BY   A.    STIRLING    CALDER   AND   EXECUTED    BY    CALDER,    FRED- 
ERICK  G.    R.    ROTH,    AND   LEO    LENTELLI.      IN    THE   WESTERN    CROUP, 
FROM    LEFT   TO    RIGHT:    FRENCH-CANADIAN    TRAPPER;    THE    ALASKAN; 
THE    LATIN-AMERICAN;    THE   GERMAN;    THE    AMERICAN    MOTHER   OF 
TO-MORROW  ;    THE    ITALIAN;    THE   ANGLO-AMERICAN;    THE    INDIAN 
SQUAW    AND   THE   INDIAN    CHIEF.     ABOVE   THE    WAGON    KNEELS    EN- 
TERPRISE,   WITH   A   WHITE   BOY   ON    ONE   SIDE   AND   A    COLORED    BOY 
ON    THE   OTHER,    "HEROES   OF    TOMORROW."    IN    THE    EASTERN    GROUP, 
FROM    LEFT   TO   RIGHT:    THE   ARAB    SHEIK;    A    NEGRO   SLAVE,    CARRY- 
ING fruits;  the  Egyptian;  an  arab  falconer,  bird  on  wrist; 

INDIAN    PRINCE,    ON    ELEPHANT,    IN    FRONT    OF    THE    HOWDAH  ; 
MOHAMMEDAN    WITH    CkESCENT    STANDARD;    NEGRO    SI^VE,    AND 
CHINESE   WARRIOR. 


INTRODUCTION 

into  personal  communication  with  the  Neiv  York  artists, 
li'ho  had  been  imnted  to  send  three  or  four  n'orks,  and  he 
asked  them  to  increase  the  number.  He  also  arranged  unth 
his  committee  for  the  securing  of  a  much  larger  number 
of  American  pictures.  Under  the  circumstances  he  twis 
bound  to  rely  on  the  discretion  of  his  juries.  The  result 
zvas  that  he  had  to  take  zi'hat  came.  It  included  a  large 
number  of  excellent  zvorks  and  others  of  doubtful  merit. 

AN  EMISSARY  TO  FRANCE  AND  ITALY 

Meami.'hile,  during  the  few  months  after  the  outbreak 
of  war,  the  art  situation  in  Europe  began  to  look  more 
hopeful.  It  seemed  possible  that  some  of  the  nations  con- 
cerned in  the  war  would  be  persuaded  to  participate. 
Captain  Asher  C.  Baker,  Director  of  the  Division  of  Ex- 
hibits, zuas  sent  on  a  special  mission  to  France,  sailing 
from  Nezv  York  early  in  November.  The  United  States 
collier  "Jason"  zvas  then  preparing  to  sail  from  New 
York  with  Christmas  presents  for  the  children  in  the  zvar 
sane,  and  the  secretary  of  the  navy  had  arranged  zvith 
the  Exposition  authorities  that,  on  the  return  trip,  the 
ship  should  be  used  to  carry  exhibits  from  Europe.  The 
first  plan  zcas  that  the  exhibits  should  come  only  from 
the  zvarring  nations;  it  zvas  later  extended  to  include  other 
nations. 

In  Paris  Captain  Baker  found  the  situation  discourag- 
ing. The  first  official  he  sazv  told  him  that,  under  the  cir- 
cumstances, any  participation  of  Prance  zvhatsoever  zvas 
out  of  the  question:  Prance  zvas  in  mourning,  and  did  not 
zvish  to  celebrate  anything;  if  any  Frenchman  zvere  to 
suggest  participation  he  zvoidd  be  criticised;  furthermore, 
Albert  Tirman,  at  the  head  of  the  French  committee  that 
had  znsited  San  Francisco  the  year  before  to  select  the 
site  of  the  French  Paznlion,  had  come  back  from  the  front 
in  the  Vosges  and  zvas  hard  at  zvork  in  the  barracks  of  the 
Invalides,  acting  as  an  intermediary  betzveen  the  ciznl  and 
military  authorities. 


[23l 


THE  CITY  OF   DOMES 

Then  Captain  Baker  appealed  to  Ambassador  Myron 
T.  Herrick.  Although  the  ambassador  ivas  enthusiastic 
for  the  Exposition,  he  said  that,  in  such  a  crisis,  he  could 
not  ask  France  to  spend  the  four  hundred  thousand  dollars 
set  apart  for  use  in  San  Francisco.  Captain  Baker  said: 
"Don't  you  think  if  France  came  in  at  this  time  a  zvonder- 
fully  synnpathetic  effect  zcould  be  created  all  over  the 
United  States?"  The  ambassador  replied,  "I  do." 
"Wouldn't  yoxi  like  to  see  France  participate?"  The  am- 
bassador declared  that  he  nfould.  "Will  you  say  so  to  Mr. 
Tirman?"  The  ambassador  said,  "Willingly." 

A  week  later  Baker  and  Tirman  zvere  on  their  way  to 
Bordeaux  to  see  Gaston  Thomson,  Minister  of  Com- 
merce. They  made  these  proposals:  The  exhibits  should 
be  carried  by  the  Jason  through  the  canal  to  San  Fran- 
cisco; the  building  of  the  French  Pavilion  should  be  un- 
dertaken by  the  Division  of  Works  of  the  Exposition,  on 
specification  to  be  cabled  to  San  Francisco  of  the  frame 
work,  the  moulds  for  the  columns  and  architectural  orna- 
ments to  be  prepared  in  France  and  shipped  by  express; 
the  French  committee  of  organisation  zvas  to  zvork  in 
France  among  possible  exhibitors ;  a  statement  zvas  to  be 
made  to  the  ministry  of  zvhat  each  department  of  the  gov- 
ernment could  do  in  sending  exhibits  and  zvhat  exhibits 
zvere  ready;  a  statement  should  come  from  the  Minister  of 
•  Fine  Arts  as  to  hoiv  much  space  he  could  occupy  and  hozv 
many  paintings  could  be  secured  for  the  Palace  of  Fine 
Arts;  a  complete  representation  of  the  Department  of  His- 
torical Furniture  and  Tapestries,  knoivn  as  the  Garde 
Meuble,  was  to  be  made  for  the  paznlion. 

In  the  interviezv  zvith  the  Minister  of  Commerce  Baker 
argued  that,  zvithout  France,  an  Exposition  could  not  be 
international,  and  that  the  participation  of  France  at  this 
time,  zmth  her  fiag  flying  in  San  Francisco,  zvonld  be  like 
zinnning  a  battle  before  the  zvorld.  It  zvould  show  the 
people  of  the  United  States  France's  gratitude  for  the 
money  sent  the  wounded  and  the  suffering,  and  zvould 
warm  the  hearts  of  the  American  people. 

[24] 


INTRODUCTION 

Thomson  responded  zmth  enthusiasm,  and  soon  the 
government  became  enthusiastic.  Several  thousand  dol- 
lars zcere  spent  in  cabling;  Henri  Guillauine,  the  dis- 
tinguished French  architect,  experienced  in  many  expo- 
sitions, ti'as  sent  out.  When  the  Jason  stopped  at  Mar- 
seilles it  took  on  board  one  of  the  most  remarkable  col- 
lections of  art  treasures  ever  shipped  to  a  foreign  country, 
the  finest  things  in  one  of  the  zvorld's  great  storehouses  of 
treasure,  including  ei'cn  the  priceless  historical  tapestries, 
and  a  large  collection  of  French  paintings  for  the  Fine 
Arts  Palace,  gathered  by  the  French  committee  after 
great  labor,  due  to  the  absence  of  many  of  the  painters  in 
the  war. 

When  Captain  Baker  left  France  he  had  accomplished 
far  more  for  the  Exposition  than  he  *realiaed  himself. 
Reports  of  his  success  in  securing  French  participation 
preceded  him  to  Italy  and  helped  to  prepare  the  zvay. 
The  Italians  listened  to  his  proposition,  all  the  more  will- 
ingly because  France  had  been  zvon  over.  Besides,  he  had 
a  zi}arm  supporter  in  Ernesto  Nathan,  ex-Mayor  of  Rome, 
who  had  paid  an  extended  znsit  to  San  Francisco  and  had 
become  an  enthusiastic  champion  of  the  Exposition.  In  a 
few  days  he  had  made  arrangements  that  led  to  the  col- 
lecting of  the  splendid  display  of  Italian  art,  shipped  on 
the  Vega,  together  iinth  many  commercial  exhibits.  Cap- 
tain Baker's  zvork  in  France  and  in  Italy,  accomplished 
zvithin  three  weeks,  zi'as  a  triumph  of  diplomacy. 

FOREIGN  PARTICIPATION  IN  GENERAL 

Germany  was  not  to  be  completely  over-shadowed  by 
France  notzinthstanding  prez'ious  indifference  on  the  part 
of  the  government.  German  manufacturers  zinshed  to  be 
represented,  and  they  actually  receizrd  goz'ernmcntal  en- 
couragement. Austrians,  not  to  be  outdone  by  Italy,  unoffi- 
cially came  in.  In  fact,  despite  the  zcar,  every  country  had 
some  representation,  England  and  Scandinavia  and  Szvits- 
erland  included,  ez'cn  if  they  did  not  have  official 
authority. 

[25] 


THE  CITY  OF   DOMES 

There  are  those  7i*ho  maintain  that,  in  spite  of  criticism, 
the  Fine  Arts  Department  is  noiu  making  a  better  show- 
ing than  it  could  have  made  if  there  had  been  no  war. 
American  collectors,  zvith  rare  canvases,  Were  persuaded 
to  help  in  the  meeting  of  the  emergency  by  lending  zvork 
that,  otherunse,  they  would  have  kept  at  home.  It  zcas 
thought  that  many  of  the  Europeans  zvould  be  glad  to 
send  their  collections  to  this  country  for  safe  keeping  dur- 
ing zi'ar  time.  But  such  proved  not  to  be  the  case.  A 
good  deal  of  concern  was  felt  about  sending  the  treasures 
on  so  long  a  journey,  subject  to  the  hazards  of  attack  by 
sea.  Furthermore,  from  the  European  point  of  viezv,.San 
Francisco  seemed  far  aivay. 

LOOKING  FOR  ART  TREASURES 

A  short  time  "after  Captain  Baker  sailed  from  Neiv 
York  another  emissary  n'ent  abroad  for  the  Exposition, 
J.  N.  Laurznk,  the  art  critic.  A  fezc  zveeks  before  Mr. 
L'aurvik  had  returned  from  Europe,  zvhere  he  had  repre- 
sented the  Fine  Arts  Department,  looking  for  the  zi'ork  of 
the  artists  in  those  countries  that  zi'ere  not  to  participate 
officially.  At  the  time  of  the  outbreak  he  zvds  in  Nor- 
zvay  and  he  had  already  secured  the  promise  of  many 
collections  and  the  co-operation  of  artists  of  distinction. 
His  report  of  the  situation  as  he  left  it  persuaded  the 
authorities  that,  in  spite  of  the  difficidties,  he  might  do 
effective  work. 

When  Laurznk  arriz'ed  in  Rome  he  found  that  Captain 
Baker  had  already  prepared  for  his  actizities.  Ernesto 
Nathan  zvas  devoting  himself  heart  and  soul  to  the  cause. 
But  the  Italian  authorities,  for  the  most  part,  zvcre  ab- 
sorbed in  the  questions  that  came  up  zvith  the  threat  of 
war.  Working  zvith  the  committee,  and  aided  by  Ambas- 
sador Thomas  Nelson  Page,  Laurvik  quickly  made  prog- 
ress. He  secured  magnificent  canvases  by  the  President  of 
the  French  Academy  in  Rome,  Albert  Besnard,  painted, 
for  the  most  part,  in  Benares,  zvith  scenes  on  the  Ganges, 
and  a  collection  of  pieces  by  the  Norwegian  sculptor, 
Lerche. 

[26  [ 


INTRODUCTION 

NOTABLE  COLLECTIONS 

From  Rome  Laurvik  went  to  Venice,  where  he  was 
greatly  helped  by  the  American  consul,  B.  H.  Carroll,  Jr. 
Though  the  International  Exhibit  held  in  Venice  every 
two  years  had  closed  several  months  before,  many  of  the 
works  of  art  were  still  there,  their  owners,  either  afraid 
or  unable  to  take  them  azvay  and  yet  concerned  about 
their  being  so  close  to  the  scene  of  war.  It  was  the  gen- 
eral concern  that  enabled  Laurvik  to  secure  some  of  his 
finest  material.  Together  with  the  Italian  work,  he  ar- 
ranged to  have  shipped  here  on  the  Jason,  Norwegian  and 
Hungarian  paintings  and  fifty  canvases  by  the  man  re- 
garded as  the  greatest  living  painter  in  Finland,  Axel 
Gallen-Kallela.  He  also  made  a  short  journey  from  Ven- 
ice to  the  home  of  Marinetti,  the  journalist,  poet  and 
leader  of  the  Italian  Futurist  painters,  who,  after  much 
persuading,  promised  to  send  fifty  examples  of  the  work 
done  by  the  ten  leaders  in  his  group. 

On  leaving  Venice  Laurvik  started  for  Vienna.  In 
spite  of  the  war,  he  was  promised  support  by  the  Minister 
of  Art.  Unfortunately,  the  art  societies  fell  to  quarreling, 
and  gave  little  or  no  help.  Then  Laurvik  appealed  to  the 
artists  themselves.  In  Kakosha,  one  of  the  best  known 
among  the  Austrian  painters,  he  found  an  ally.  The  col- 
lection he  made  in  Vienna  included  several  of  Kakosha's 
canvases,  lent  by  their  ozimers,  and  a  large  number  of 
etchings. 

THE  HUNGARIAN  COLLECTION 

In  Hungary  Laurvik  had  a  powerful  friend  in  Count 
Julius  Andrassy,  a  man  of  zvealth  and  infiuence,  the 
owner  of  one  of  the  newspapers  published  in  Budapest. 
From  his  own  collection  of  Hungarian  art  Andrassy  made 
a  large  contribution  and  he  inspired  other  collectors  to  do 
likewise.  The  getting  together  of  the  material  zvas  full  of 
difficulties.  Much  of  it  had  been  taken  aivay  for  safe- 
keeping. The  museums  were  all  closed  and  some  of  their 
treasures  were  buried  in  the  ground.  Already  the  Rus- 

[27] 


THE  CITY  OF   DOMES 

siaiis,  during  their  raid  in  the  Carpathian  Mountains,  had 
possessed  themsekrs  of  rare  art  7i'orks,  some  of  the  best 
carnvscs  cut  from  the  frames  and  carried  off  by  the  offi- 
cers. Amon>^  the  sufferers  ims  Count  Andrassy  himself, 
zvho  lost  I'alnable  heirlooms  from  one  of  his  country 
estates,  including  several  Titians.  In  spite  of  that  experi- 
ence, Andrassy  refused  to  hide  his  possessions.  He  pre- 
ferred the  risk  of  losing  them  to  showing  fear,  perhaps 
helping  to  start  a  panic. 

The  Hungarian  collection  came  near  missing  the  Jason. 
It  zvas  mysteriously  held  up  in  the  train  that  carried  it 
through  the  Italian  territory  to  Italy,  arriinng  in  Genoa 
three  days  after  the  Jason  zi>as  scheduled  to  sail  from 
there.  But  the  Jason  happened  to  be  delayed  three 
days,  too. 

By  the  German  steamer,  the  "Cro'xm  Princess  Cecilie,'' 
it  happened  that  an  interesting  collection  of  German 
paintings,  after  being  exhibited  in  the  Carnegie  Institute 
of  Pittsburgh,  -was  started  on  the  li.'ay  to  Germany;  but 
the  iii*ar  caused  the  ship  to  return  to  an  American  port. 
After  a  good  deal  of  negotiating  the  cam'ases  icere  se- 
cured for  the  Exposition  and  taken  off  the  ship. 

On  the  opening  day  of  the  Exposition  it  zvas  found  that 
the  Palace  of  Pine  Arts,  far  from  having  too  little  ma- 
terial, had  too  much.  Not  only  were  China  and  Japan  and 
several  of  the  European  nations  -well  represented,  but  on 
the  ivay  -were  many  art  -works  that  there  -woidd  not  be 
room  for.  The  consequence  -was  that  a  new  building  had 
to  be  erected.  It  axis  finished  in  July  and  it  became  kno-wn 
as  the  Fine  Arts  Annex. 


[28] 


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THE  VIEW  FROM  THE  HILL 

HE  best  way  to  see  the  Exposition,  in  my 
opinion,"  said  the  architect,  "is  to  stand 
on  the  top  of  the  Fillmore  Street  hill  and 
look  down.  Then  you  will  find  out  what 
the  architects  were  up  to.  The  finest  point 
of  observation  would  be  at  the  corner  of 
Divisadero  Street  and  Broadway." 

The  next  day,  as  we  stood  at  that  point,  the  Exposi- 
tion stretched  out  beneath  us  like  a  city  of  the  Orient. 

"When  the  architects  first  discussed  the  construction 
they  knew  it  was  to  be  looked  at  from  these  hills.  So 
they  had  to  have  a  scheme  that  should  hide  the  skylight 
and  avoid  showing  lack  of  finish  on  top  and  that  should 
be  pictorial  and  impressive  from  above.  One  of  the 
problems  was  to  make  the  roof  architectural.  Now  as 
we  look  down,  see  how  stunning  the  effect  is — like  a 
Persian  rug." 
"And  the  color  helped  there,  too,  didn't  it?" 
"Of  course.  And  notice  how  skilfully  the  architecture 
and  the  coloring  harmonized.  As  the  Exoosition  was  to 
be  built  on  low,  flat  ground,  it  had  to  be  Hfted  up.  One 
way  was  by  using  the  domes.  The  central  portion  of 
each  of  those  palaces  was  lifted  above  the  main  surface 
of  the  roof  to  introduce  a  row  of  semi-circular  windows 
to  light  the  interior  like  a  church.  And  the  domes,  besides 
being  ornamental  in  themselves,  gave  spring  to  the 
towers.  The  big  tower  provided  scope  for  the  splendid 
archway  that  served  as  an  approach  and  set  the  standard 
for  the  other  arches." 

It  was  plain  enough  that  the  top  of  the  Exposition  had 
not  received  the  praise  it  deserved.  "Think  how  crude 
that  scene  would  have  been  if  it  had  presented  a  strag- 
gling mass  of  roofs.  And  even  as  it  is,  with  its  graceful 
lines,  if  it  were  lacking  in  color  it  would  seem  crude. 
Perhaps  it  will  help  us  to  realize  how  unsightly  most  of 

[29] 


THE  CITY   OF   DOMES 

the  roofs  of  our  houses  are,  and  how  unfinished.  There's 
no  reason  in  the  world  why  they  should  be.  The  Greeks 
and  the  Romans  had  the  right  idea.  They  were  very 
sensitive  to  lack  of  finish.  They  felt  the  charm  of  dec- 
orated roofs.  See  that  angel  down  there  that  keeps  re- 
curring at  the  points  of  the  gables.  What  a  pretty  bit 
of  ornamentation.  The  Greeks  used  it  to  suggest  the 
gifts  of  the  gods  coming  down  from  heaven.  'Blessings 
on  this  house.'  I  suppose  the  wreath  in  the  hand  used 
here  was  meant  to  suggest  the  crowning  of  the  work. 
It  explains  why  the  figure  is  called  "Victory."  By  the 
way,  it  has  an  architectural  value  in  giving  lightness 
and  grace  to  the  roofs." 

The  builders,  we  could  see,  had  cleverly  adapted  their 
plans  to  the  conditions.  "The  eflfect  might  so  easily  have 
been  monotonous  and  cold,  and  it  might  have  been  flat 
and  dreary.  It  was  a  fine  idea  to  lift  the  central  portion 
of  each  of  those  main  palaces  above  the  surfaces  of  the 
roofs  to  introduce  the  semicircular  windows  in  the  domes. 
It  helped  to  infuse  the  scene  with  a  kind  of  tenderness 
and  spirituality.  And  see  how  the  two  groups  on  top 
of  the  triumphal  arches,  the  Orientals  and  the  Pioneers, 
contribute  to  the  soaring  efifect  and  to  the  finish  at  the 
same  time.  The  Romans  disliked  bareness  on  the  top 
of  their  arches.  They  wanted  life  up  there,  the  more 
animated  the  better.  So  they  ])ut  on  some  of  their  most 
dramatic  scenes,  like  their  chariot  races." 

The  expert  proceeded  to  point  out  the  architectural 
balance  of  the  buildings.  The  severe  and  mighty  Palace 
of  Machinery,  impressive  in  its  long  sweep  of  line,  at 
one  side  made  a  dramatic  contrast  with  the  delicately 
imagined  and  poetic  Palace  of  Fine  Arts  on  the  other. 
In  front  of  the  walled  city,  between  the  long  stretch  of 
garden,  stood  two  harmonious  buildings,  the  Palace  of 
Horticulture,  with  its  glorious  roof  of  glass,  and  the 
Festival  Hall,  closely  related  in  outline,  and  yet  very 
different  in  detail.    And  the  garden  itself,  with  its  dark. 

[30] 


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THE  VIEW  FROM  THE  HILL 

pointed  trees  standing  against  the  wall,  and  with  its 
simplicity  of  design,  made  an  agreeable  approach  to  the 
great  arched  entrance  under  the  Tower  of  Jewels.  "Those 
banners  down  there,  shielding  the  lights,  are  a  stroke 
of  genius,  both  in  their  orange  color  and  their  shape. 
And  those  orange-colored  streamers,  how  they  add  to 
the  spirit  of  gaiety.  The  trees  have  been  placed  against 
the  wall  to  keep  it  from  seeming  like  a  long  and  unin- 
teresting stretch.  And  observe  the  grace  in  line  of  the 
niches  between  the  trees.  Even  from  here  you  can  feel  the 
warmth  of  the  color  in  the  paths.  The  pink  effect  is  made 
by  burning  the  sand.  Only  a  man  like  Guerin,  a  painter, 
would  have  thought  of  that  detail.  I  wonder  how  many 
visitors  down  there  know  that  the  very  sand  they  walk  on 
has  been  colored." 

Around  the  Tower  pigeons  were  flying,  somehow  re- 
lieving the  mechanical  outlines.  Was  the  disproportion 
between  the  great  arch,  forming  a  kind  of  pedestal,  and 
the  outlines  above  due  to  mathematical  miscalculation 
or  to  the  interference  of  the  ornamentation?  We  finally 
decided  that  the  proportions  had  probably  been  right  in 
the  first  place.  But  they  had  been  changed  by  the  Expo- 
sition authorities'  cutting  the  Tower  down  one  hundred 
feet,  thereby  saving  $100,000.  A  matter  of  this  kind 
could  be  reduced  almost  to  an  exact  science.  Besides, 
though  the  ornamentation  interfered  with  the  upward 
sweep  of  line,  the  effect  of  flatness  was  made  by  those 
horizontal  blocks  which  seemed  to  be  piled  up  to  the 
top.  If  the  outline  had  been  clean,  it  would  have  achieved 
the  soaring  effect  so  essential  to  an  inspiring  tower, 
creating  the  sense  of  reaching  up  to  the  sky,  like  an 
invocation. 

Thomas  Hastings  had  a  sound  idea  when  he  made  that 
design.  He  wanted  to  do  something  Expo.sitional,  ex- 
actly as  Guerin  did  when  he  applied  the  coloring.  Now 
there  were  critics  who  said  that  the  coloring  was  too 
pronounced.    It  reminded  them   of  the  theater.    Well, 

fail 


THE  CITY  OF   DOMES 

that  was  just  what  it  ought  to  remind  them  of.  It  had 
life,  gaiety,  abandon.  The  critic  who  said  that  the  orange 
domes  provided  just  the  right  tone,  and  that  this  tone 
ought  to  have  been  followed  throughout,  didn't  make 
sufficient  allowance  for  public  taste.  He  wanted  the 
Exposition  to  be  an  impressionistic  picture  in  one  key. 
But  one  key  was  exactly  what  Guerin  didn't  want.  His 
purpose  was  to  catch  the  excitement  in  variety  of  color 
as  well  as  the  warmth,  to  stimulate  the  mind.  He  suc- 
ceeded in  adapting  his  color  scheme  to  architecture  that 
had  breadth  and  dignity.  At  first  he  expected  to  use 
orange,  blue,  and  gold,  carefully  avoiding  white.  He 
did  avoid  white ;  but  he  expanded  his  color  scheme  and 
included  brown  and  yellow  and  green.  But,  in  that  tower, 
Hastings  did  something  out  of  harmony  with  the  archi- 
tecture, something  barbaric  and  crude. 

Here  and  there  the  bits  of  Austrian  cut  glass  were 
sparkling  on  the  tower  like  huge  diamonds.  "At  times 
the  thing  is  wonderfully  impressive.  There's  always  some- 
thing impressive  about  a  mass  if  it  has  any  kind  of  uni- 
formity, and  here  you  can  detect  an  intention  on  the  part 
of  the  architect.  There  are  certain  lights  that  have  a 
way  of  dressing  up  the  tower  as  a  whole,  giving  it  unity 
and  hiding  its  ugliness.  And  at  all  times  it  has  a  kind 
of  barbaric  splendor.  It  might  have  come  out  of  an 
Aztec  mind,  rather  childish  in  expression,  and  seeking' 
for  beauty  in  an  elemental  way.  I  can  imagine  Aztecs 
living  up  there  in  a  barbaric  fashion,  their  houses  piled, 
one  above  another,  like  our  uncivilized  apartment 
houses." 

In  studying  the  Tower  of  Jewels  in  detail,  we  decided 
that  it  was  not  really  so  crude  as  it  seemed  on  first  sight. 
Much  might  be  done  even  now  by  a  process  of  elimina- 
tion. And  the  arch  was  magnificent.  "In  its  present  con- 
dition the  tower  unquestionably  provides  a  strong  accent. 
It  has  already  become  a  dominating  influence  here.  But 
it's  an  influence  that  teaches  people  to  feel  and  to  think 

[32] 


THE  VIEW  FROM  THE  HILL 

in  the  wrong-  way.  It  encourages  a  liking  for  what  I  call 
messy  art,  instead  of  developing  a  taste  for  the  simplicity 
that  always  characterizes  the  best  kind  of  beauty,  the 
kind  that  develops  naturally  out  of  a  central  idea." 

From  the  Tower  of  Jewels  we  turned  our  attention 
to  those  other  towers,  the  four  so  charming  in  design 
and  in  proportion.  Renaissance  in  feeling,  their  sim- 
plicity seeming  all  the  more  graceful  on  account  of  the 
contrast  with  the  other  tower's  over-ornamentation.  "I 
wonder  what  the  world  would  have  done  without  the 
Giralda  Tower  in  Seville?  It  has  inspired  many  of  the 
most  beautiful  towers  in  the  world.  It  helped  to  inspire 
McKim,  Mead  and  White  when  they  built  the  Madison 
Square  Tower,  and  the  Madison  Square  Tower  might 
be  described  as  a  relative  of  our  own  Ferry  Tower, 
which  is  decidedly  one  of  the  best  pieces  of  architecture 
in  San  Francisco.  And  it's  plain  enough  that  these  four 
towers  arid  the  Ferry  Tower  are  related.  The  top  of  the 
four  towers,  by  the  way,  has  a  history.  It  comes  from 
the  Choragic  Monument  of  Lysicrates,  the  little  temple 
in  Athens  that  was  built  by  one  of  the  successful  chorus- 
leaders  in  the  competitive  choral  dances  of  the  Greeks, 
who  happened  to  be  a  man  of  wealth.  Afterward,  when 
a  chorus-leader  won  a  prize,  which  consisted  of  a  tripod, 
it  was  shown  to  the  people  on  that  monument." 

"Some  critics,"  I  said,  "have  complained  of  the  color- 
ing and  the  pattern  on  those  towers." 

"They  can't  justify  themselves,  however.  Though  this 
plaster  looks  like  Travertine,  it  nevertheless  remains 
plaster,  and  it  lends  itself  to  plastic  decoration.  The 
Greeks  and  the  Romans  often  used  plaster,  and  they  did 
not  hesitate  to  paint  it  whenever  they  chose.  Kelham's 
four  towers  have  been  criticised  on  account  of  their  plas- 
tic design,  which  has  a  good  deal  of  pink  in  it.  But  that 
design  provides  one  of  the  strongest  color  notes  in  the 
whole  Exposition,  a  delightful  note,  too.  It  happens  that 
makers  of  wallpaper  have  had  the  good  sense  to  use  a 

[33] 


THE  CITY  OF   DOMES 

design  somewhat  similar.  But  this  fact  does  not  make 
the  design  any  the  less  attractive  or  serviceable." 

Between  the  houses  on  the  hill  we  could  catch  glimpses 
of  the  South  Gardens  between  the  glass  dome  of  the  Hor- 
ticultural Palace  and  Festival  Hall.  The  architects  rightly 
felt  that  in  general  appearance  they  had  to  be  French  to 
harmonize  with  the  French  architecture  on  either  side. 
In  the  distance  the  Fountain  of  Energy  stood  out,  like  a 
weird  skeleton  that  did  not  wholly  explain  itself.  Stirling 
Calder,  the  sculptor,  must  have  forgotten  that  the  outline 
of  those  little  symbolic  figures  perched  on  the  shoulder 
of  his  horseman  would  not  carry  their  meaning. 

Now,  before  our  eyes,  the  Exposition  revealed  itself 
as  a  picture,  with  all  the  arts  contributing.  It  suggested 
the  earlier  periods  of  art,  when  the  art- worker  was  archi- 
tect, painter  and  sculptor  all  in  one. 


f34] 


r  -^  r.  H  -J^  : 
Z  °  S  S  "^  ' 
2"  =  S  K 


«S 


I  -  o  e>  o  w 

;  w  o  «  !- 

^  2  O  O  N  W 

"  5  P3  >  "  3 


„      » 


i   '■*   Z   S   H   . 


.   «   B   ^ 


z  « 

>  p 


HOW 

S  2  G 

w  z  2 
K22 


r-  " 


K"2 
«<  *  o 

-   »   -H 

K  S  » 


,,  '^  « 
"on 
■<  c 


n  w 

B  _  •« 

•<  o  - 

C  z  2 

f*  "  g 

O  O  W 


8    5515-^3 


i  *" 

1  n  a  c 
2  w  ■ 


II 

THE  APPROACH 

OU  see,"  said  the  architect  as  we  started 
down  the  hill,  "when  the  Exposition 
builders  began  their  work  they  found  the 
setting  of  the  Mediterranean  here.  It  justi- 
fied them  in  reproducing  the  art  of  the 
Orient  and  of  Greece  and  Rome  which  was 
associated  with  it,  modified  of  course  to  meet  the  special 
requirements.  Besides,  they  didn't  want  to  be  tied  down 
to  the  severe  type  of  architecture  in  vogue  in  this 
country." 

First  of  all,  he  went  on  to  explain,  they  had  created  a 
playground.  There  they  appealed  to  the  color  sense, 
strong  in  the  Italians  and  the  Orientals,  and  weak  among 
the  people  in  this  country,  decidedly  in  need  of  fostering, 
and  the  appeal  was  not  merely  to  the  intellect,  but  to  the 
emotions  as  well.  Color  was  as  much  a  part  of  architec- 
ture as  of  painting.  So,  in  applying  the  color,  Guerin 
worked  with  the  architects.  He  never  made  a  plan  with- 
out taking  them  into  consultation.  Then,  too,  Calder, 
acting  head  of  the  Department  of  Sculpture,  and  Denne- 
ville,  the  inventor  of  the  particular  kind  of  imitation 
Travertine  marble  used  on  the  grounds,  were  active  in 
all  the  planning.  In  fact,  very  little  was  done  without 
the  co-operation  of  Guerin,  Calder,  Denneville  and  Kel- 
ham,  chief  of  the  Architectural  Board.  In  getting  the 
Exposition  from  paper  to  reality,  they  had  succeeded  in 
making  it  seem  to  be  the  expression  of  one  mind.  Even 
in  the  development  of  the  planting  the  architects  had 
their  say.  Here  landscape  gardening  was  actually  a  part 
of  the  architecture.  Faville's  wall,  for  example,  was  built 
with  the  understanding  that  its  bareness  was  to  be  re- 
lieved with  masses  of  foliage,  creating  shadows. 

Before  the  Scott  Street  entrance  we  paused  to  admire 
the  high  hedge  of  John  McLaren.  We  went  close  to 
examine  the  texture.    The  leaves  of  the  African   dew 

[35  1 


THE  CITY  OF  DOMES 

plant  were  so  thick  that  they  were  beginning  to  hide  the 
lines  between  the  boxes. 

"Faville  realized  the  importance  of  separating  the  city 
from  the  rest  of  the  world,  making  it  sequestered.  He 
knew  that  a  fence  wouldn't  be  the  right  sort  of  thing. 
So  he  conceived  the  idea  of  having  a  high,  thick  wall, 
modeled  after  an  old  English  wall,  overgrown  with  moss 
and  ivy.  As  those  walls  were  generations  in  growing, 
he  saw  that  to  produce  one  in  a  few  months  or  even  a 
few  years  required  some  ingenuity.  He  set  to  work  on 
the  problem  and  he  devised  a  scheme  for  making  an  imi- 
tation hedge  by  planting  ivy  in  deep  boxes  and  piling  the 
boxes  on  one  another.  When  he  submitted  it  to  McLaren 
he  was  told  that  it  was  good  except  for  the  use  of  the  ivy. 
It  would  be  better  to  use  African  dew  plant.  Later  Mc- 
Laren improved  on  the  scheme  by  using  shallow  boxes. 

"Faville  designed  a  magnificent  entrance  here,"  the 
architect  went  on,  glancing  up  at  the  three  modest 
arches  that  McLaren  had  tried  to  make  as  attractive  as 
possible  with  his  hedge.  "It  would  have  been  very  ap- 
propriate. But  the  need  of  keeping  down  expenses  caused 
the  idea  to  be  sacrificed.  However,  the  loss  was  not 
serious.  As  a  matter  of  fact,  in  spite  of  the  efforts  of 
the  Exposition  to  persuade  visitors  to  come  in  here,  a 
great  many  preferred  to  enter  by  the  Fillmore  Street 
gate.  During  the  day  this  approach  is  decidedly  the  more 
attractive  on  account  of  leading  directly  into  the  gardens 
and  into  the  approach  to  the  court.  The  Fillmore  Street 
entrance,  with  the  Zone  shrieking  at  you  at  one  side, 
hardly  puts  you  in  the  mood  for  the  beauty  in  the  courts. 
At  night  the  situation  is  somewhat  different.  The  flaring 
lights  of  the  Zone  make  the  dimness  of  the  court  all  the 
more  attractive." 


[36] 


-)  ^  in  -  Z  M 

a  s  ::  ■"  o  H 

n  n  n  •»  p  "* 

o  c  a  2  H  o 

O  H  w  n  o 

g  K  55  2  Z  * 

10  <  >  H  » 

o  ^  ^  * 

""  o  n  o  "< 

n  '1) 


■B  J£  H  W 

M  S  •<  X 

W  tf)  "0  »« 

a  w  n  o 

'■  5  K  • 

n  2  M 

z  H  p  a; 

o  5  o  _ 

as  c  J  g 


OS  >  o  ^ 
C  n  o  a 


o  w  w  o 


^  H  ^  r 

"a«5 

n  «  >  o 

pn  „  at  » 

o  S  >  3 

"  S  " 

o  5>  2 


5     Kg*SsS 


V^^Br 

1 

III 

IN  THE  SOUTH   GARDENS 

HOUGH  the  arrangement  of  the  landscape 
might  be  French,  these  flowers  were  un- 
mistakably Californian.  The  two  pools, 
ornamented  with  the  Arthur  Putnam  foun- 
tain of  the  mermaid,  in  duplicate,  decidedly 
French  in  feeling,  were  brilliant  with  the 
reflected  coloring  from  both  the  flowers  and  the  buildings. 

The  intention  at  first  had  been  to  make  a  sunken  garden 
here ;  but  the  underground  construction  had  interfered. 
Now  one  might  catch  a  suggestion  of  Versailles,  except 
for  those  lamp  posts.  "Joseph  Pennell,  the  American 
etcher,  who  has  traveled  all  over  Europe  making  draw- 
ings, finds  a  suggestion  of  two  great  Spanish  gardens 
here,  one  connected  with  the  royal  palace  of  La  Granga, 
near  Madrid,  and  the  other  with  the  royal  palace  of 
Aranjuez,  near  Toledo.  They've  allowed  the  flowers  to  be 
the  most  conspicuous  feature,  the  dominating  note,  which 
is  as  it  should  be.  Masses  of  flowers  are  always  beautiful 
and  they  are  never  more  beautiful  than  when  they  are  of 
one  color." 

"And  masses  of  shrubbery  are  always  beautiful,  too." 
I  said,  nodding  in  the  direction  of  the  Palace  of  Horticul- 
ture, where  McLaren  had  done  some  of  his  best  work. 

"There's  no  color  in  the  world  like  green,  particularly 
dark  green,  for  richness  and  poetry  and  mystery.  It's 
intimately  related  to  shadow,  which  does  so  much  for 
beauty  in  the  world." 

"The  Fountain  of  Energy  almost  hits  you  in  the  face, 
doesn't  it?"  I  said. 

"Of  course.  That's  exactly  what  Calder  meant  to  do. 
In  a  way  he  was  right.  He  wanted  to  express  in  sculpture 
the  idea  of  tremendous  force.  Now  his  work  is  an  ideal 
example  of  what  is  expositional.  It  has  a  sen.sational  ap- 
peal. One  objection  to  it  is  that  it  suggests  too  much 
energy,  too  much  effort  on  the  part,  not  only  of  the  sub- 

[Z7] 


THE  CITY  OF   DOMES 

ject,  but  of  the  sculptor.  The  artist  ought  never  to  seem  to 
try.  His  work  ought  to  make  you  feel  that  it  was  easy 
for  him  to  do.  But  here  you  feel  that  the  sculptor 
clenched  his  teeth  and  worked  with  might  and  main. 
As  a  matter  of  fact,  he  did  this  piece  when  he  must 
have  been  tired  out  from  managing  all  the  sculpture  on 
the  grounds.  He  made  two  designs.  The  first  one,  which 
was  not  used,  seemed  to  me  better  because  it  was  simpler 
in  the  treatment  of  the  base.  Even  the  figures  at  the 
base  here  are  over-energized,  the  human  figures  I  mean. 
Still,  in  their  sportiveness  and  in  the  sportiveness  of 
Roth's  animals,  they  have  a  certain  charm.  And  with  the 
streams  spouting,  the  work  as  a  whole  makes  an  impres- 
sion of  liveliness.  But  it's  a  nervous  liveliness,  charac- 
teristically American,  not  altogether  healthy." 

The  Fountain  of  Energy  and  the  Tower  of  Jewels,  we 
decided,  both  expressed  the  same  kind  of  imagination. 
Like  the  fountain,  the  tower  gave  the  sense  of  overstrain. 
"It's  pretty  hard  to  see  any  architectural  relation  between 
those  figures  up  there  on  the  tower  and  the  tower  itself. 
See  how  the  mass  tries  to  dominate  Kelham's  four  Italian 
towers,  but  without  showing  any  real  superiority." 

The  heraldic  shields  on  the  lamp  posts  near  by  at- 
tracted us  both  by  their  color  and  by  the  variety  and  grace 
of  their  designs.  How  many  visitors  stopped  to  consider 
their  historic  character?  They  went  back  to  the  early 
history  of  the  Pacific  Coast.  For  this  contribution  alone 
Walter  D'Arcy  Ryan  deserved  the  highest  recognition. 
Only  an  artist  could  have  worked  out  this  scheme  in 
just  this  sensitive  and  appropriate  way. 

We  stopped  at  the  vigorous  equestrian  statue  of  Cortez 
by  Charles  Niehaus  at  our  right,  close  to  the  tower.  "I 
always  liked  Cortez  for  his  nerve.  He  didn't  get  much 
gratitude  from  his  Emperor  for  conquering  Mexico  and 
annexing  it  to  Spain.  And  what  he  got  in  glory  and  in 
money  probably  did  not  compensate  him  for  his  disap- 

[38] 


IN  THE  SOUTH  GARDENS 

pointment  at  the  end.  When  he  couldn't  reach  Charles  V 
in  any  other  way,  he  jumped  up  on  the  royal  carriage. 
Charles  didn't  recognize  him  and  asked  who  he  was. 
'I'm  the  man,'  said  Cortez,  'that  gave  you  more  provinces 
than  your  forebears  left  you  cities.'  Naturally  Charles 
was  annoyed.  We  don't  like  to  be  reminded  of  ingrati- 
tude, do  we,  especially  by  the  people  who  think  we  ought 
to  be  grateful  to  them?  So  Cortez  quit  the  court  and 
spent  the  rest  of  his  life  in  the  country." 

At  our  right  we  met  another  of  the  many  Spanish 
adventurers  drawn  to  the  Americas  by  the  discovery  of 
Columbus,  Pizarro,  who  presented  his  country  with  the 
rich  land  of  Peru.  It  was  doubtless  placed  here  on  ac- 
count of  the  relation  between  Spain  and  California. 
"Civilization  is  a  development  through  blood  and  spolia- 
tion," the  architect  remarked.  "If  Pizarro  hadn't  been 
lured  by  the  gold  of  the  Incas  we  might  not  be  here  at 
this  moment." 

The  figures  on  the  tower,  insignificant  when  viewed 
from  a  distance,  at  close  range  took  on  vigor :  the  philoso- 
pher in  his  robes,  the  bearer  of  European  culture  of  the 
sixteenth  century  to  these  shores;  the  Spanish  priest, 
typical  of  the  early  friars;  the  adventurer,  so  closely  re- 
lated to  Columbus ;  and  the  Spanish  soldier.  The  armored 
horseman,  by  Tonetti,  in  a  row  all  by  himself,  suffering 
from  being  rather  absurdly  out  of  place,  might  have  won 
applause  if  he  had  been  brought  on  a  pedestal  close  to 
the  ground.  His  being  repeated  so  often  up  there  made 
an  effect  almost  comic.  The  vases  and  the  triremes,  the 
pieces  of  armor,  with  the  battle-axe  designs  on  either 
side,  the  Cleopatra's  needles,  and  the  richly-girdled  globe 
on  top,  sustained  on  the  shoulders  of  three  figures,  were 
all  well  done.  The  only  trouble  was  that  they  had  not 
been  made  to  blend  into  one  lightly  soaring  mass. 

"It's  curious  that  Hastings  should  have  gone  astray 
in  the  treatment  of  the  tower.  He  must  have  known  the 
psychological   effect  of  parallel  horizontal  lines.   When 

[391 


THE  CITY  OF  DOMES 

skyscrapers  were  first  built  in  New  York  a  few  years  ago 
they  were  considered  unsightly  on  account  of  their  great 
height.  So  the  architects  were  careful  to  use  parallel 
horizontal  lines  in  order  to  diminish  the  apparent  height 
as  far  as  possible.  Then  people  began  to  say  that  there 
was  beauty  in  the  sky-scrapers,  and  the  architects  changed 
their  policy.  They  built  in  straight  parallel  lines  that 
shot  up  to  the  sky.  In  this  way  they  increased  the  ap- 
parent height." 

The  inscriptions  on  the  south  side  of  the  tower's  base 
reminded  us  of  the  Exposition's  meaning,  conspicuously 
and  properly  emphasized  here.  The  pagan  note  in  the 
architecture  was  indicated  in  the  ornamentation  by  the 
use  in  the  design  of  the  head  of  the  sacred  bull.  And 
Triumphant  America  was  celebrated  in  the  group  of 
eagles. 

The  dark  stains  on  the  yellow  columns  made  us  see 
how  clever  Guerin  had  been  in  his  application  of  the 
coloring.  In  most  places  he  had  applied  one  coat  only, 
trusting  to  nature  to  do  the  rest.  Most  of  all,  he  wished 
to  avoid  the  appearance  of  newness  and  to  secure  a 
look  of  age.  On  these  columns  the  smoke  from  the  steam 
rollers  had  helped  out.  One  might  imagine  that  they 
had  been  here  for  generations. 

Here  the  builders  had  used  the  Corinthian  column,  with 
the  acanthus  leaves  varied  with  fruit-designs  and  with 
the  human  figure.  "It  was  a  lucky  day  for  architecture 
when  the  column  came  into  use.  It  doubtless  got  its 
start  from  a  single  beam  used  for  support.  Then  the 
notion  developed  of  making  it  ornamental  by  fluting  it 
and  decorating  the  top.  In  this  Exposition  three  kinds 
of  columns  are  used,  the  Doric,  which  the  Greeks  favored, 
with  the  very  simple  top  or  capital ;  the  Ionic,  with  the 
spiral  scroll  for  the  capital,  and  the  Corinthian,  with  the 
acanthus  flowing  over  the  top,  and  the  Composite  which 
uses  features  from  all  the  other  three." 

"Do  you  happen  to  know  how  the  acanthus  design  was 

[403 


SPANISH    PLATERESQUE    DOORWAY,    UNDER 
ILLUMINATION,    DUPLICATED    IN    THE 
NORTHERN    WALL,   WITH    FIGURES  BY  ALLEN 
NEWMAN.     THE   CENTRAL   FIGURE    IS   THE 
SPANISH    CONQUEROR.     ON    EITHER   SIDE    IS 
ONE   OF   THE    FEW    HUMOROUS    FIGURES   ON 
THE  GROUNDS,  THE   BOW-LEGGED  PIRATE  WHO 
USED    TO    SAIL   THE    PACIFIC.      BOTH    ARK 
MARKED    BY    CHARACTER    AND    SPIRIT. 


IN  THE  SOUTH  GARDENS 

made  ?  Well,  Vitruvius  tells  the  story.  Anyone  that  wants 
to  get  a  line  on  this  Exposition  ought  to  read  that  book, 
or,  at  any  rate,  to  glance  through  it  and  to  read  parts 
of  it  pretty  thoroughly.  It  is  called  'The  Architecture  of 
Marcus  Vitruvius  Pollio.'  There's  a  good  translation 
from  the  Latin  by  Joseph  Gwilt.  It  has  become  the 
architect's  bible.  According  to  Vitruvius,  the  nurse  of 
a  Corinthian  girl  who  had  died  carried  to  the  girl's  tomb 
a  basket  filled  with  the  things  that  the  girl  had  particu- 
larly liked.  She  left  the  basket  on  the  ground  near  the 
tomb  and  covered  it  with  a  tile.  It  happened  that  it 
stood  over  the  root  of  an  acanthus  plant.  As  the  plant 
grew  its  foliage  pressed  up  around  the  basket  and  when 
it  reached  the  tile  the  leaves  were  forced  to  luuig  back 
in  graceful  curves.  Callimachus,  a  Corinthian  architect, 
noticed  the  effect  and  put  it  into  use." 


f4il 


IV 
UNDER  THE  TOWER  OF  JEWELS 

HEN  we  entered  the  arch  we  looked  up  at 
the  magnificent  ceihng  used  by  McKim, 
Mead  &  White,  in  panels,  with  a  pictorial 
design  beautifully  colored  by  Guerin.  "The 
blue  up  there  blends  into  the  deeper  blue 
of  the  Dodge  murals  just  beneath.  Those 
murals  are  in  exactly  the  right  tone.  They  give  strength 
to  the  arch.  But  they  are  weakened  by  being  in  the  midst 
of  so  much  heavy  architecture.  Their  subjects,  however, 
are  in  harmony  with  the  meaning  of  the  tower.  Guerin 
was  right  when  he  told  the  mural  decorators  that  a 
good  subject  was  an  asset.  By  studying  these  murals  you 
can  get  a  glimpse  of  all  the  history  associated  with 
California  and  with  the  Panama  Canal.  Dodge  has  made 
drama  out  of  Balboa's  discovery  of  Panama  and  out  of 
the  union  of  the  two  oceans,  a  theme  worthy  of  a  great 
poet.  And  Dodge  is  one  of  the  few  men  represented  in 
the  art  on  the  grounds  who  have  made  pictorial  use  of 
machinery.  There's  the  discovery  by  Balboa,  the  pur- 
chase by  the  United  States,  the  presentation  of  the  prob- 
lem of  uniting  the  two  oceans,  very  imaginative  and 
pictorial,  the  completion  of  the  Canal,  and  the  crowning 
of  labor,  with  the  symbolic  representation  of  the  resulting 
feats  of  commerce  suggested  by  the  want  of  the  winged 
Mercury.  Dodge  is  dramatic  without  being  too  individual. 
His  murals  don't  call  the  attention  away  from  their  sur- 
roundings to  themselves.  They  are  a  part  of  the  architec- 
ture, as  murals  always  should  be." 

On  either  side  we  found  the  columned  niches  designed 
by  McKim,  Mead  and  White,  each  ornamented  with  a 
fountain.  The  back  wall  made  a  splendid  efifect  as  it 
reached  up  toward  the  tower. 

To  the  right  we  turned  to  view  Mrs.  Edith  Wood- 
man Burroughs'  "Fountain  of  Youth,"  lovely  in  the  girl- 
ish beauty  of  the  central  figure,  and  in  the  simplicity 

[42l 


i  G  > 

>  2  « 

n  i  a 

H  5  a 

PI  S  » 

"  «•* 

"  s  si , 

H  «  g 

S  n  » 
PI  r*  » 

n  ui 
O  ui 

2S 


«  H  " 

H  2   H 

ta  o  « 


,  a  »  PI 

P)    PI    •!) 

G      ° 
H  >  c 

n  z  » 

>  -i  - 

"  a  K. 

2  S  n 


iw  -71  H  w  n  PI 

*■  d  °  S  5  °  '^ 

w  P)  »  O  -^  r;  «> 

5  r  ?  '^  o  »  ;i 


5  p.,  3 


'   O    2« 


2  »  z 

<  —  o 


n  o  g  •« 

;2  ^  s  « 

C  «  PI  « 

"  5  * 

M  S  -I 


P)  ""  _•  H  Z 

r*   H  H  K  H 

«  a  PI  5 

w  >  n  c  w 


UNDER   THE   TOWER    OF  JEWELS 

and  the  sincerity  of  the  design  as  a  whole.  In  some  ways 
the  figure  reminded  us  of  the  celebrated  painting  by 
Ingres  in  the  Louvre,  "The  Source,"  the  nude  girl  bear- 
ing a  jug  on  her  shoulder,  sending  out  a  stream  of 
water.  There  was  no  suggestion  of  imitation,  however. 
"The  symbolism  in  the  design,"  said  the  architect,  "does 
not  thrust  itself  on  you,  and  yet  it  is  plain  enough.  That 
woman  and  man  pushing  up  flowers  at  the  feet  of  the 
girl  make  a  beautiful  conception.  The  whole  fountain 
has  an  ingenuousness  that  is  in  key  with  the  subject. 
Across  the  way,"  he  went  on,  turning  to  view  the  Foun- 
tain of  El  Dorado,  by  Mrs.  Gertrude  Vanderbilt  Whitney, 
"there's  a  piece  of  work  much  more  sophisticated  and 
dramatic,  fine  in  its  conception  and  strong  in  handling. 
No  one  would  say  offhand  that  it  was  the  work  of  a 
woman ;  and  yet  it  shows  none  of  the  overstrain  that 
sometimes  characterizes  a  woman  artist  when  she  wishes 
her  work  to  seem  masculine." 

In  approaching  the  "El  Dorado"  we  noted  the  skill 
shown  in  the  details  of  the  conception.  "This  fountain 
might  have  been  called  'The  Land  of  Gold,'  in  plain 
English,  or  'The  Struggle  for  Happiness,'  or  by  any 
other  name  that  suggested  competition  for  what  people 
valued  as  the  prizes  of  life.  When  Mrs.  Whitney  was 
asked  to  explain  whether  those  trees  in  the  background 
represented  the  tree  of  life,  she  said  she  didn't  have  any 
such  idea  in  her  mind.  What  she  probably  wanted  to  do 
was  to  present  an  imaginative  scene  that  each  observer 
could  interpret  for  himself.  These  two  Egyptian-looking 
guardians  at  the  doors,  with  the  figures  kneeling  by  them, 
suggest  plainly  enough  the  futility  that  goes  with  so  much 
of  our  struggling  in  the  world.  So  often  people  reach 
the  edge  of  their  goal  without  really  getting  what  they 
want." 


[43  1 


V 
THE  COURT  OF  THE  UNIVERSE 

MROUGH  the  arch  we  passed  into  the 
neck  of  the  Court  of  the  Universe,  which 
charmed  us  by  the  warmth  of  its  coloring, 
by  McLaren's  treatment  of  the  sunken  gar- 
den, by  its  shape,  by  the  use  of  the  dark 
pointed  cypress  trees  against  the  walls,  and 
by  the  sweep  of  view  across  the  great  court  to  the 
Marina,  broken,  however,  by  the  picturesque  and  in- 
harmonious Arabic  bandstand.  We  glanced  at  the  in- 
scriptions at  the  base  of  the  tower,  carrying  on  the  history 
of  the  Canal  to  its  completion.  Then  we  stopped  before 
those  graceful  little  elephants  bearing  Guerin's  tall  poles 
with  their  streamers.  "That  little  fellow  is  a  gem  in  his 
way.  He  comes  from  Rome.  But  the  heavy  pole  on  his 
back  is  almost  too  much  for  him.  He's  used  pretty  often 
on  the  grounds,  but  not  too  often.  After  the  Exposition 
is  over  we  ought  to  keep  these  figures  for  the  Civic  Center. 
They  would  be  very  ornamental  in  the  heart  of  the  city." 

As  we  walked  toward  the  main  court,  the  architect 
called  my  attention  to  the  view  between  the  columns  on 
the  other  side  of  the  Tower  of  Jewels,  with  the  houses 
of  the  city  running  down  the  hills.  "San  Francisco  archi- 
tecture may  not  be  beautiful  when  you  study  individual 
houses.  But  in  mass  it  is  fine.  And,  of  a  late  afternoon, 
it  is  particularly  good  in  coloring.  It  seems  to  be  en- 
veloped in  a  rich  purple  haze.  That  color  might  have 
given  the  mural  decorators  a  hint.  It  would  have  been 
eflfective  in  the  midst  of  all  this  high-keyed  architecture. 
It's  easy  here  to  imagine  that  you're  in  one  of  those 
ancient  Hindu  towns  where  the  gates  are  closed  at  night. 
You  almost  expect  to  see  camels  and  elephants." 

What  was  most  striking  in  the  Court  was  its  immensity. 
"Though  it  comes  from  Bernini's  entrance  court  to  St. 
Peter's  in  Rome,  it  is  much  bigger.  There  are  those  who 

[44] 


THE  COURT  OF  THE  UNIVERSE 

think  it's  too  big.  But  it  justifies  itself  by  its  splendor. 
The  use  of  the  double  row  of  columns  is  particularly 
happy.  The  double  columns  were  greatly  favored  by  the 
Romans.  In  St.  Peter's  Bernini  used  four  in  a  row.  And 
what  could  be  finer  than  those  two  triumphal  arches  on 
either  side,  the  Arch  of  the  Rising  Sun  and  the  Arch 
of  the  Setting  Sun,  with  their  double  use  of  symbolism, 
in  suggesting  the  close  relation  between  California  and 
the  Orient,  as  well  as  their  geographical  meaning?  They 
are,  of  course,  importations  from  Rome,  the  Arch  of 
Constantine  and  the  Arch  of  Titus  all  over  again,  with  a 
rather  daring  use  of  windows  with  colored  lattices  tp 
give  them  lightness  and  with  colossal  groups  of  almost 
startling  proportions  used  in  place  of  the  Roman  chariot 
or  quadriga." 

Originally,  the  intention  had  been  to  use  here  the  name 
of  the  Court  of  Sun  and  Stars.  Then  it  was  changed  to 
the  Court  of  Honor,  and  finally  to  its  present  name,  to 
suggest  the  international  character  of  the  Exposition. 

Those  two  groups  represented  by  far  the  most  am- 
bitious work  done  by  the  sculpture  department.  From 
designs  by  Calder,  they  were  made  by  three  sculptors, 
Calder,  Roth  and  Lentelli.  They  presented  problems  that 
must  have  been  both  difficult  and  interesting  to  work  out. 
First,  they  had  to  balance  each  other.  What  figure  in 
the  Pioneer  group  could  balance  the  elephant  that  typified 
the  Orient?  Calder  had  the  idea  of  using  the  prairie 
schooner,  associated  with  the  coming  of  the  pioneers  to 
California,  drawn  by  great  oxen. 

The  Oriental  group  doubtless  shaped  itself  in  pic- 
turesque outlines  much  more  quickly  than  the  sturdy, 
but  more  homely  Americans  of  the  earlier  period.  The 
Orientals  displayed  an  Indian  prince  on  the  ornamented 
seat,  and  the  Spirit  of  the  East  in  the  howdah,  of  his 
elephant,  an  Arab  shiek  on  his  Arabian  horse,  a  negro 
slave  bearing  fruit  on  his  head,  an  Egyptian  on  a  camel 
carrying  a  Mohammedan  standard,  an  Arab  falconer  with 
a  bird,  a  Buddhist  priest,  or  Lama,  from  Thibet,  bearing 

[45] 


THE  CITY  OF   DOMES 

his  symbol  of  authority,  a  Mohammedan  with  his  crescent, 
a  second  negro  slave  and  a  Mongolian  on  horseback. 

The  Nations  of  the  West  were  grouped  around  that 
prairie  wagon,  drawn  by  two  oxen.  In  the  center  stood 
the  Mother  of  Tomorrow  a  typical  American  girl,  roughly 
dressed,  but  with  character  as  well  as  beauty  in  her  face 
and  figure.  On  top  of  the  wagon  knelt  the  symbolic  figure 
of  "Enterprise,"  with  a  white  boy  on  one  side  and  a  col- 
ored boy  on  the  other,  "Heroes  of  Tomorrow."  On  the 
other  side  of  the  wagon  stood  typical  figures,  the  French- 
Canadian  trapper,  the  Alaska  woman,  bearing  totem  poles 
on  her  back,  the  American  of  Latin  descent  on  his  horse, 
bearing  a  standard,  a  German,  an  Italian,  an  American 
of  English  descent,  a  squaw  with  a  papoose,  and  an 
Indian  chief  on  his  pony.  The  wagon  was  modelled  on 
top  of  the  arch.  It  was  too  large  and  bulky  to  be  easily 
raised  to  that  great  height. 

The  architect  was  impressed  by  the  boldness  of  the 
designs  and  to  the  spirit  that  had  been  put  into  them. 
"It's  very  seldom  in  the  history  of  art  that  sculptors  have 
had  a  chance  to  do  decorative  work  on  so  big  a  scale. 
It  must  have  been  a  hard  job,  getting  the  figures  up, 
there  in  pieces  and  putting  them  together.  Some  of  the 
workers  came  near  being  blown  off.  Some  of  them  lost 
their  nerve  and  quit.  I  wonder,  by  the  way,  if  that  angel 
on  top  of  the  prairie  wagon  would  be  there  if  Saint 
Gaudens  hadn't  put  an  angel  in  his  Sherman  statue,  and  if 
he  hadn't  made  an  angel  float  over  the  negro  soldiers 
in  his  Robert  Gould  Shaw  monument  in  Boston.  He  liked 
that  kind  of  symbolism.  He  must  have  got  it  from  the 
mediaeval  sculptors  who  worked  under  the  inspiration  of 
the  Catholic  Church." 

Varying  notes  we  found  around  the  American  group. 
Cleopatra's  needle,  used  for  ornamentation,  suggested 
Egypt  and  the  Nile.  That  crenellated  parapet  once  be- 
longed to  military  architecture :  between  those  pieces  that 
stood  up,  the  merlons,  in  the  embrasure,  the  Greek  and 

[46] 


1!  o  r 

^  ■=!  ■ 

•H  r  M 

W  •«  5 

"  c 

U)  x'" 

>  n  > 

o  -  « 

H  n 

-  ;  n 

US  H  >^ 

S  s  "". 


W  11  ^ 


p  -  " 

sa  5  w 

O  H  2 
C  M  ►) 

mow 

H    •' 


I  B  H  W  "  2  « 

i  n  -  >  ^  r  -; 
1  X  C  •<   5  " 


a  H 


K  P  o 


a  •« 


„,  J  o  2  » 

"<   *  .7  '^  w 


p:  O 

r  c 
r"  19 


u 


■1  S  S  58  ^  o 
«  *  z  ^  "  o 


g  55  n  z 

S  o  o  >^ 

5  15  G  O 

2  w  g  a 

<  °  ''  S 

2  z  W  " 

«  O  M  O 

w  O  II  "* 

(n  H  <3  pj 


THE  COURT   OF  THE  UNIVERSE 

Roman  archers  shot  their  arrows  at  the  enemy  and  darted 
back  behind  the  merlons  for  protection.  In  spite  of  its 
being  purely  ornamental  it  told  its  story  just  the  same, 
and  it  expressed  the  spirit  that  still  persisted  in  mankind. 
Nowadays  it  was  even  used  on  churches.  But  religion 
and  war  had  always  been  associated.  Besides,  in  an  In- 
ternational Exposition  it  was  to  be  expected  that  the  art 
should  be  international.  How  many  people,  when  they 
looked  at  Cleopatra's  needle,  knew  how  closely  it  was 
related  to  the  newspapers  and  historical  records  of  today  ? 
The  Egyptians  used  to  write  on  these  monuments  news 
and  opinions  of  public  affairs.  The  Romans  had  a  similar 
custom  in  connection  with  their  columns.  On  the  column 
of  Trajan  they  not  only  wrote  of  their  victories,  but  they 
pictured  victorious  scenes  in  stone. 

The  little  sprite  that  ran  along  the  upper  edge  of  the 
court  in  a  row,  the  star-figure,  impressed  me  as  making 
an  unfortunate  contrast  with  the  stern  angel,  repeated 
in  front  of  each  of  the  two  arches.  My  criticism  brought 
out  the  reply  that  it  was  beautiful  in  itself  and  had  its 
place  up  there.  "These  accidental  effects  of  association 
are  sometimes  good  and  sometimes  they're  not.  Here  I 
can't  see  that  they  make  a  jarring  effect.  In  the  first  place, 
a  Court  of  the  Universe  ought  to  express  something  of 
the  incongruity  in  our  life.  Ideally,  of  course,  it  isn't 
good  in  art  to  represent  a  figure  in  a  position  that  it's 
hard  to  maintain  without  discomfort.  But  here  the  out- 
lines are  purely  decorative  and  don't  suggest  strain.  In 
my  judgment  that  figure  is  one  of  the  greatest  ornaments 
in  the  court.  It  gives  just  the  right  note." 

The  two  fountains  in  the  center  of  the  sunken  garden 
were  gaily  throwing  their  spray  into  the  air.  The  boldness 
of  the  Tritons  at  the  base  represented  a  very  different 
kind  of  handling  from  the  delicacy  of  the  figure  at  the 
top  of  each,  the  Evening  Sun  and  the  Rising  Sun,  both 
executed  with  poetic  feeHng.  In  the  Rising  Sun,  Wein- 
mann  had  succeeded  in  putting  into  the  figure  of  the 
youth  life,  motion  and  joy.  Looking  at  that  figure,  just 

[47] 


THE  CITY  OF   DOMES 

ready  to  spread  its  wings,  one  felt  as  if  it  were  really 
about  to  sweep  into  the  air.  Though  the  Evening  Sun 
might  be  less  dramatic,  it  was  just  as  fine.  "It  isn't  often 
that  you  see  sculpture  of  such  imaginative  quality,"  said 
the  architect. 

Those  great  symbolic  figures  by  Robert  Aitken,  at  once 
giving  a  reminder  of  Michael  Angelo,  impressed  me  as 
being  perfectly  adapted  to  the  Court,  and  to  their  subjects, 
Earth,  Air,  Fire,  and  Water.  But  my  companion  thought 
they  were  too  big.  He  agreed,  however,  that  they  were 
both  original  and  strong.  There  was  cleverness  in  making 
the  salamander,  with  his  fiery  breath  and  his  sting,  ready 
to  attack  a  Greek  warrior,  symbolize  fire.  Under  the 
winged  girl  representing  air  there  was  a  humorous  refer- 
ence to  man's  early  efiforts  to  fly  in  the  use  of  the  quaint 
little  figure  of  Icarus.  Water  and  earth  were  more  conven- 
tional, but  worked  out  with  splendid  vigor,  the  two  fig- 
ures under  earth  suggesting  the  competitive  struggle  of 
men.  "I  remember  Aitken  in  his  beginning  here  in  San 
Francisco.  Though  he  often  did  poor  stuff,  everything  of 
his  showed  artistic  courage  and  initiative.  Even  then  any- 
one could  see  there  was  something  in  him.  Now  it's  com- 
ing out  in  the  work  he  has  contributed  to  this  Exposition. 
The  qualities  in  these  four  statues  we  shall  see  again  when 
we  reach  the  fountain  that  Aitken  made  for  the  Court  of 
Abundance.  They  are  individual  without  being  eccentric. 
Compare  these  four  figures  with  the  groups  in  front  of  the 
two  arches,  by  Paul  Manship,  another  American  sculptor 
of  ability,  but  different  from  Aitken  in  his  devotion  to  the 
early  Greek.  When  Manship  began  his  work  a  few  years 
ago  he  was  influenced  by  Rodin.  Then  he  went  to  Rome 
and  became  charmed  with  the  antique.  Now  he  follows 
the  antique  method  altogether.  He  'deliberately  conven- 
tionalizes. And  yet  his  work  is  not  at  all  conventional.  He 
manages  to  put  distinct  life  into  it.  These  two  groups,  the 
'Dancing  Girls'  and  'Music,'  would  have  delighted  the 
sculptors  of  the  classic  period." 


[48] 


PORTAL   IN   THE   COURT  OF  THE   FOUR 
SEASONS,    LEADING    FROM    THE    NICHE   OP 
CERES  TO  THE  COURT  OF   PALMS.     IT   SHOWS 
THE   REFINEMENT  OF   THE   DECORATION   ON 
THE   ROMAN    DOORWAY   AND  THE    RICH    EFFECT 
OF   THE  GROUPED   IONIC   COLUMNS.     IN  THE 

BACKGROUND  ONE   OF   THE    ITALIAN 

RENAISSANCE   TOWERS. 


THE  COURT  OF  THE  UNIVERSE 

Under  the  Arch  of  the  Rising  Sun  two  deUcate  murals 
by  Edward  Simmons  charmed  us  by  their  grace,  their 
lovely  coloring,  by  the  richness  of  their  fancy  and  by  the 
extraordinary  fineness  of  their  workmanship.  "There's  a 
big  difference  of  opinion  about  those  canvases  as  murals. 
But  there's  no  difference  of  opinion  in  regard  to  their 
artistic  merit.  They  are  unquestionably  masterpieces. 
Kelham  and  Guerin,  who  had  a  good  deal  to  do  with 
putting  them  up  there,  believe  they  are  in  exactly  the 
right  place.  But  a  good  many  others  think  they  are  almost 
lost  in  all  this  heavy  architecture.  You  see,  Simmons 
didn't  take  Guerin's  advice  as  to  a  subject.  Each  of  his 
two  murals  has  a  meaning,  or  rather  a  good  many  mean- 
ings, but  no  central  theme,  no  story  that  binds  the  figures 
into  a  distinct  unity.  So,  from  the  point  of  view  of  the 
public,  they  are  somewhat  puzzling.  People  look  up  there 
and  wonder  what  those  figures  are  doing.  But  to  the 
artist  they  find  their  justification  merely  in  being  what 
they  are,  beautiful  in  outline  and  in  posture  and  coloring. 
You  don't  often  get  such  atmosphere  in  mural  work,  or 
such  subtlety  and  richness  of  feeling." 

Both  murals  unmistakably  showed  the  same  hand. 
"There's  not  another  man  in  the  country  who  could  do 
work  of  just  that  kind.  That  group  in  the  center  of  the 
mural  to  the  north  could  be  cut  out  and  made  into  a 
picture  just  as  it  stands.  It  doesn't  help  much  to  know 
that  the  middle  figure,  with  the  upraised  arm,  is  Inspira- 
tion with  Commerce  at  her  right  and  Truth  at  her  left. 
They  might  express  almost  any  symbols  that  were  related 
to  beauty.  And  the  symbolism  of  the  groups  at  either 
end  seems  rather  gratuitous.  They  might  be  many  other 
things  besides  true  hope  and  false  hope  and  abundance 
standing  beside  the  family.  But  the  girl  chasing  the 
bubble  blown  out  by  false  hope  makes  a  quaint  conceit 
to  express  adventure,  though  perhaps  only  one  out  of  a 
million  would  see  the  point  if  it  weren't  explained." 

The  opposite  mural  we  found  a  little  more  definite  in 
its  symbolism,  if  not  so  pictorial  or  charming.  The  figures 

[49] 


THE  CITY  OF   DOMES 

consisted  of  the  imaginary  type  of  the  figure  from  the 
lost  Atlantis ;  the  Roman  fighter ;  the  Spanish  adventurer, 
suggesting  Columbus ;  the  English  type  of  sea-faring  ex- 
plorer, Sir  Walter  Raleigh;  the  priest  who  followed  in 
the  wake  of  the  discoverer,  the  bearer  of  the  cross  to  the 
new  land ;  the  artist,  spreading  civilization,  and  the 
laborer,  modern  in  type,  universal  in  significance,  interest- 
ing here  as  standing  for  the  industrial  enterprise  of  today. 

"Those  murals  suggest  what  a  big  chance  our  decora- 
tors have  in  the  themes  that  come  out  of  our  industrial 
life.  They've  only  made  a  start.  As  mural  decoration  ad- 
vances in  this  country,  we  ought  to  produce  men  able  to 
deal  in  a  vigorous  and  imaginative  way  with  the  big 
spiritual  and  economic  conceptions  that  are  associated 
with  our  new  ideals  of  industry." 

One  feature  of  this  court  made  a  special  appeal  to  the 
architect,  the  use  of  the  large  green  vases  under  the 
arches.  "They're  so  good  they're  likely  to  be  overlooked. 
They  blend  perfectly  in  the  general  scheme.  Their  color- 
ing could  not  have  been  better  chosen  and  their  design  is 
particularly  happy." 


[SO] 


VI 
ON  THE  MARINA 

LONG  one  of  the  corridors  we  passed,  en- 
joying the  richness  of  the  coloring  and  the 
beauty  of  the  great  lamps  in  a  long  row, 
then  out  into  the  wide  entrance  of  the 
court  to  the  Column  of  Progress. 
"I  wonder  if  that  column  would  be  there 
now,"  said  the  architect,  "if  Trajan  had  not  built  his  col- 
umn in  Rome  nearly  two  thousand  years  ago.  The  Chris- 
tianizing of  the  column,  by  placing  St.  Peter  on  top  in- 
stead of  Trajan,  is  symbolic  of  a  good  deal  that  has  gone 
on  here.  But  we  owe  a  big  debt  to  the  pagans,  much  more 
than  we  acknowledge." 

When  I  expressed  enthusiasm  over  the  column  the 
architect  ran  his  eye  past  the  frieze  to  the  top.  "In  the 
first  place,  that  dominating  group  up  there  ought  at  once 
to  express  the  character  of  the  column.  But  it  doesn't.  You 
have  to  look  twice  and  you  have  to  look  hard.  One  figure 
would  have  been  more  effective.  But  there  is  a  prejudice 
among  some  sculptors  against  placing  a  single  figure 
at  the  head  of  a  column,  though  the  Romans  often  did  it. 
But  if  a  group  had  to  be  used  it  could  have  been  made 
much  clearer.  Now  in  that  design  MacNeil  celebrated  the 
Adventurous  Archer  in  a  way  that  was  distinctly  old- 
fashioned.  He  made  the  archer  a  superman,  pushing  his 
way  forward  by  force,  and  by  the  dominance  of  person- 
ality. And  see  how  comparatively  insignificant  he  made 
the  supporting  figures.  The  relation  of  those  three  people 
implies  an  acceptation  of  the  old  ideals  of  the  social  or- 
ganization. MacNeil  had  a  chance  here  to  express  the  new 
spirit  of  today,  the  spirit  that  honors  the  common  man 
and  that  makes  an  ideal  of  social  co-operation  on  terms 
of  equality." 

At  the  base  we  studied  the  figures  celebrating  labor. 
"Konti  is  a  man  of  broad  social  understanding  and  sym- 
pathy," said  my  companion.    "But  picturesque  as  those 

[51] 


THE  CITY  OF  DOMES 

figures  are,  they're  not  much  more.  They  give  no  intima- 
tion of  the  mighty  stirring  among  the  laborers  of  the 
world,  a  theme  that  might  well  inspire  the  sculpture  of 
today,  one  of  the  greatest  of  all  human  themes." 

From  the  Column  of  Progress  the  Marina  drew  us 
over  to  the  seawall.  "The  builders  were  wise  to  leave  this 
space  open  and  to  keep  it  simple.  It's  as  if  they  said : 
'Ladies  and  gentlemen,  we  have  done  our  best.  But  here's 
Mother  Nature.  She  can  do  better.'  " 

To  our  right  stood  Alcatraz,  shaped  like  a  battleship, 
with  the  Berkeley  hills  in  the  distant  background.  To  the 
left  rose  Tamalpais  in  a  majestic  peak. 

When  I  mentioned  that  there  ought  to  be  more  boats 
out  there  on  the  bay,  a  whole  fleet,  and  some  of  them 
with  colored  sails,  to  give  more  brightness,  the  architect 
shook  his  head. 

"The  scene  is  typically  Californian.  It  suggests  great 
stretches  of  vacant  country  here  in  this  State,  waiting 
for  the  people  to  come  from  the  overcrowded  East  and 
Middle  West  and  thrive  on  the  land." 

Our  point  of  view  on  the  Esplanade  enabled  us  to  take 
in  the  sweep  of  the  northern  wall,  with  its  straight  hori- 
zontal lines,  broken  by  the  entrances  to  the  courts  and 
by  the  splendidly  ornate  doors  in  duplicate.  Of  the  design 
above  the  doorway  the  architect  said:  "It's  a  perfect  ex- 
ample of  the  silver-platter  style  of  Spain,  generally  called 
'plateresque,'  adapted  to  the  Exposition.  Allen  Newman's 
figure  of  the  Conquistador  is  full  of  spirit,  and  the  bow- 
legged  pirate  is  a  triumph  of  humorous  characterization. 
Can't  you  see  him  walking  the  deck,  with  the  rope  in  his 
hand?  It  isn't  so  many  generations  since  he  used  to 
infest  the  Pacific.  By  the  way,  that  rope,  which  the 
sculptor  has  made  so  realistic  and  picturesque  at  the 
same  time,  reminds  me  that  a  good  many  people  are 
bothered  because  the  bow  up  here,  on  the  Column  of 
Progress,  has  no  string.  The  artistic  folk,  of  course, 
think  that  the  string  ought  to  be  left  to  the  imagination." 

[52] 


THE    MARINA    AT    NIGHT.      FROM    THE 
LOCOMOTIVE    PAINTED    TO    RESEMBLE    THE 
TRAVERTINE,     NEAR    THE    ENTRANCE    TO    THE 
COURT   OF   THE   FOUR    SEASONS,   THERE   IS 
RISING   THE   STEAM    THAT   RYAN    COLORS 
WITH    HIS  SCINTILLATORS.     IN   THE   BACK- 
GROUND  IS   A   GLIMPSE  or  THE   TOWER  OF 
JEWELS   UNDER  THE   WHITE   ILLUMINATION 
AND  OF  ONE  OF  THE  SIX  PAVILIONS  IN  THE 
COLONNADE  IN  THE  COURT  OF  THE 
UNIVERSE. 


ON  THE  MARINA 

In  the  distance,  to  the  west,  we  commented  on  the  noble 
outlines  of  the  California  Building,  an  idealized  type  of 
Mission  architecture,  a  little  too  severe,  perhaps,  lacking 
in  variety  and  warmth,  but  of  an  impressive  dignity.  The 
old  friars,  for  all  their  asceticism,  liked  gaiety  and  color 
in  their  building. 

As  we  were  about  to  start  back  to  the  Court  of  the 
Universe  the  architect  reminded  me  of  the  two  magnifi- 
cent towers,  dedicated  to  Balboa  and  Columbus,  that  had 
been  planned  for  the  approach  to  the  Court  of  Four  Seas- 
ons and  the  Court  of  Ages  from  the  bay  side,  but  had 
been  omitted  to  save  expense.  They  would  have  given 
the  Marina  a  far  greater  splendor;  but  they  would  have 
detracted  from  its  present  simplicity. 


f53l 


VII 

TOWARD  THE  COURT  OF  FOUR 
SEASONS 

HERE  are  critics,"  I  remarked,  as  we 
walked  back  to  the  Court  of  the  Universe, 
on  the  way  to  the  Court  of  Four  Seasons, 
"who  say  that  the  entrance  courts  ought 
to  have  been  placed  on  the  other  side,  that 
the  Exposition  ought  to  have  been  turned 
round." 

"They  don't  understand  the  conditions  that  the  archi- 
tects had  to  meet.  That  plan  was  considered ;  but  when 
it  was  pointed  out  that  the  strongest  winds  here  blow 
from  the  south  and  southwest,  it  was  seen  that  it  would 
not  be  feasible.  Besides,  the  present  arrangement  has 
the  advantage  of  leading  the  people  directly  to  one  of  the 
most  beautiful  bays  in  the  world.  The  only  bays  at  all 
like  it  that  I  know  anything  about  are  the  Bay  of  Pa- 
lermo and  the  Bay  of  Naples.  The  view  of  the  Expo- 
sition from  the  water  is  wonderfully  fine.  It  brings  out 
the  charm  of  the  straight  lines.  All  things  considered, 
the  architects  did  an  uncommonly  fine  job  in  making 
the  courts  run  from  the  Esplanade." 

Under  the  star  figures,  among  the  sculptured  flowers 
surrounding  the  head  of  the  sacred  bull,  birds  were  nest- 
ling. We  wondered  if  those  birds  were  really  fooled  by 
those  flowers  or  whether,  in  these  niches,  they  merely 
found  a  comfortable  place  to  rest.  "There's  an  intimate 
relation,  by  the  way,  between  birds  and  architecture. 
It's  said  that  the  first  architectural  work  done  in  the 
world  consisted  in  the  making  of  a  bird's  nest.  Some 
critics  think  that  architecture  had  its  start  in  the  making 
of  a  bird's  nest.  Have  you  ever  watched  birds  at  work  on 
their  nests?  If  you  have,  you  must  know  that  they  go 
about  the  job  like  artists.  In  our  profession  we  like  to 
insist,  you  know,  that  there's  a  big  difference  between 
architecture  and  mere  building.  In  its  truest  sense  archi- 

[54] 


ROTUNDA   or   THE   PALACE  OF   FINE  ARTS, 
BY    BERNARD    R.     MAYBECK,    WITH    A    SECTION 
OP   THE    COLONNADE    REFLECTED    BY    DAY    IN 
THE  LAGOON.     IT  WAS   ORIGINALLY   INTENDED 
THAT    THE    HEDGE,    MADE    OF    AFRICAN    DEW- 
PLANT,    BY   JOHN    M'LAREN,    SHOULD    BE    COV- 
ERED   WITH    WILLOW    TREES,    EXTENDING 
NEARLY  TO  THE  TOP  OF  THE   COLUMNS.    THE 
WHOLE   CONCEPTION    IS    DESIGNED   TO   SUG- 
GEST  AN    ABANDONED    RUIN. 


TOWARD  THE  COURT  OF  THE  FOUR  SEASONS 

tecture  is  building  with  a  fine  motive.  It's  the  artistic 
printing  press  of  all  ages,  the  noblest  of  the  fine  arts 
and  the  finest  of  the  useful  arts.  I  know,  of  course,"  the 
architect  went  on,  "that  there's  another  tradition  not  quite 
so  flattering.  It  makes  the  architect  merely  the  worker  in 
the  rough,  with  the  artistic  finish  left  to  the  sculptors. 
But  the  outline  is  nevertheless  the  architect's,  the  struc- 
ture, which  is  the  basis  of  beauty.  Even  now  a  good  many 
of  the  great  French  buildings  are  roughed  out  in  this 
way,  and  finished  by  the  sculptors  and  the  decorators." 

Under  the  western  arch,  leading  to  the  inner  court 
that  united  the  Court  of  the  Universe  with  the  Court  of 
the  Four  Seasons,  we  found  the  two  panels  by  Frank 
Vincent  Du  Mond.  Their  simple  story  they  told  plainly 
enough,  the  departure  of  the  pioneers  from  the  Atlantic 
border  for  the  Far  West  on  the  Pacific.  In  the  panel  to 
the  right  we  saw  the  older  generation  saying  farewell  to 
the  younger,  and  on  the  other  side  we  saw  the  travelers 
arriving  in  California  and  finding  a  royal  welcome  from 
the  Westerners  in  a  scene  of  typical  abundance,  even  the 
California  bear  showing  himself  in  amiable  mood.  "That 
bear  bothered  Du  Mond  a  good  deal.  He  wasn't  used 
to  painting  bears.  It  isn't  nearly  as  life-like  as  those 
human  figures." 

What  I  liked  best  about  the  murals  was  their  splendor 
of  coloring,  and  their  pictorial  suggestiveness  and  vigor 
of  characterization.  Perhaps  there  was  a  little  too  much 
effort  on  the  part  of  the  painter  to  suggest  animation. 
But  why,  I  asked,  had  Du  Mond  made  most  of  the  faces 
so  distinctively  Jewish? 

My  question  was  received  with  an  exclamation  of  sur- 
prise. Yes,  the  strong  Jewish  types  of  features  were  cer- 
tainly repeated  again  and  again.  Perhaps  Du  Mond  hap- 
pened to  use  Jewish  models.  It  hardly  seemed  possible 
that  the  effect  could  have  been  intentional. 

When  I  pointed  to  one  of  the  figures,  a  youth  holding 
out  a  long  bare  arm,  and  remarked  that  I  had  never  seen 

[551 


THE  CITY  OF  DOMES 

an  arm  of  such  length,  my  criticism  brought  out  an  un- 
suspected principle  of  art.  "The  Cubists  would  say  that 
you  were  altogether  too  literal.  They  are  making  us  all 
understand  that  what  art  ought  to  do  is  to  express  not 
what  we  merely  see  with  our  eyes,  but  what  we  feel.  If 
by  lengthening  that  arm,  the  painter  gets  an  effect  that 
he  wants,  he's  justified  in  refusing  to  be  bound  by  the 
mathematical  facts  of  nature.  Art  is  not  a  matter  of  strict 
calculation,  that  is,  art  at  its  best  and  its  purest.  It's  a 
matter  of  spiritual  perception.  All  the  resources  of  the 
artist  ought  to  be  bent  toward  expressing  a  spiritual  idea 
and  making  it  alive  and  beautiful  through  outline  and 
color." 

"But  how  about  the  mixture  of  allegory  and  realism 
that  we  see  in  these  murals  and  in  so  much  of  the  art 
here?    Don't  you  find  it  disturbing?" 

"Not  at  all.  There's  no  reason  in  the  world  why  the 
allegorical  and  the  real  should  not  go  together,  provided, 
of  course,  they  don't  grossly  conflict  and  become  absurd." 
What  the  artist  is  always  working  for  is  the  effect  of 
beauty.  If  a  picture  is  beautiful,  no  matter  how  the  beauty 
is  achieved,  it  deserves  recognition  as  a  work  of  art.  In 
these  murals  Du  Mond  has  tried  to  reach  as  closely  as 
he  could  to  nature  without  being  too  literal  and  without 
sacrificing  artistic  effect.  He  has  even  introduced  among 
his  figures  some  well-known  Californians,  a  Bret  Harte, 
in  the  gown  of  the  scholar,  and  William  Keith,  carrying  a 
portfolio  to  suggest  his  painting." 

In  that  inner  court  we  noticed  how  cleverly  Faville 
had  subordinated  the  architecture  so  that  it  should  mod- 
estly connect  the  great  central  courts.  McLaren  was 
keeping  it  glowing  on  either  side  with  the  most  brilliant 
California  flowers.  The  ornamental  columns,  the  Span- 
ish doorways,  and  the  great  windows  of  simple  and  yet 
graceful  design  were  all  harmonious,  and  Guerin  and 
Ryan  had  helped  out  with  the  coloring. 


[56] 


VIII 

THE  COURT  OF  THE  FOUR 
SEASONS 

S  WE  entered  the  Court  of  the  Four  Sea- 
sons the  architect  said :  "If  I  were  to  send 
a  student  of  architecture  to  this  Exposition, 
I  should  advise  him  to  spend  most  of  his 
time  here.  Of  all  the  courts,  it  expresses 
for  me  the  best  architectural  traditions. 
Henry  Bacon  frankly  took  Hadrian's  Villa  for  his  model, 
and  he  succeeded  in  keeping  every  feature  classic.  That 
half  dome  is  an  excellent  example  of  a  style  cultivated  by 
the  Romans.  The  four  niches  with  the  groups  of  the 
seasons,  by  Piccirilli,  screened  behind  the  double  columns, 
come  from  a  detail  in  the  baths  of  Caracalla.  The  Romans 
liked  to  glimpse  scenes  or  statuary  through  columns. 
Guerin  has  applied  a  rich  coloring,  his  favorite  pink,  and 
McLaren  has  added  a  poetic  touch  by  letting  garlands  of 
the  African  dew  plant,  that  he  made  his  hedge  of,  flow 
over  from  the  top.  See  how  Bacon  has  used  the  bull's  head 
between  the  flowers  in  the  ornamentation,  one  of  the 
most  popular  of  the  Renaissance  motives.  And  he  has  in- 
troduced an  original  detail  by  letting  ears  of  corn  hang 
from  the  top  of  the  columns.  Those  bulls  up  there,  with 
the  two  figures,  carry  the  mind  back  to  the  days  when 
the  Romans  made  a  sacrifice  of  the  sacred  bull  in  the  har- 
vest festivals.  This  Thanksgiving  of  theirs  they  called 
'The  Feast  of  the  Sacrifice.'  " 

Crowning  the  half  dome  sat  the  lovely  figure  of  Nature, 
laden  with  fruits,  by  Albert  Jaegers.  On  the  columns  at 
either  side  stood  two  other  figures  by  Jaegers,  "Rain," 
holding  out  a  shell  to  catch  the  drops,  and  "Sunshine," 
with  a  palm  branch  close  to  her  eyes.  At  each  base  the 
figures  of  the  harvesters  carried  out  the  agricultural  idea 
with  elemental  simplicity  in  friezes  that  recalled  the 
friezes  on  the  Parthenon.  Here,  on  each  side  of  the  half- 
dome,  we  have  a  good  example  of  the  composite  column, 

[57] 


THE  CITY  OF  DOMES 

a  combination  of  the  Corinthian  and  the  Ionic,  with  the 
Ionic  scrolls  and  the  acanthus  underneath,  and  with  little 
human  figures  between  the  two. 

What  we  liked  best  about  this  court  was  its  feeling  of 
intimacy.  One  could  find  refreshment  here  and  rest. 
Much  was  due  to  the  graceful  planting  by  John  McLaren. 
His  masses  of  deep  green  around  the  emerald  pool  in 
the  center  were  particularly  successful.  He  had  used 
many  kinds  of  trees,  including  the  olive,  the  acacia,  the 
eucalyptus,  the  cypress,  and  the  English  laurel. 

We  lingered  in  front  of  these  fountains,  admiring  the 
classic  grace  of  the  groups  and  the  play  of  water  over 
the  steps.  We  thought  that  Piccirilli  had  been  most  suc- 
cessful with  his  "Spring."  "Of  course,  it's  very  conven- 
tional work,"  said  the  architect,  "but  the  conventional 
has  its  place  here.  It  explains  just  why  Milton  Ban- 
croft worked  out  those  murals  of  his  in  this  particular 
way.  He  wanted  to  express  the  elemental  attitude  of 
mind  toward  nature,  the  artistic  childhood  of  the  race." 

When  we  examined  the  figures  of  the  Piccirilli  groups 
in  detail,  we  found  that  they  possessed  excellent  qualities. 
They  carried  on  the  traditions  of  the  wall-fountains  so 
popular  in  Rome  and  often  associated  with  water  running 
over  steps.  The  figures  were  well  put  together  and  the 
lines  were  good.  All  of  the  groups  had  the  surface  as 
carefully  worked  out.  In  "Spring"  the  line  of  festooning 
helped  to  carry  on  the  line  leading  to  the  top  of  the  group. 
There  was  tender  feeling  and  fine  workmanship  in  "Sum- 
mer," with  the  feminine  and  masculine  hands  clearly 
differentiated.  "The  men  of  today  have  a  chance  to  learn 
a  good  lesson  from  Rodin,"  said  the  painter.  "He  is 
teaching  them  what  he  himself  may  have  learned  from 
the  work  of  Donatello  and  Michael  Angelo,  the  import- 
ance of  surface  accentuation,  the  securing  of  the  light  and 
shade  that  are  just  as  necessary  in  modelling  as  in  paint- 
ing.  In  these  groups  there  is  definite  accentuation  of  the 

[58] 


2| 


M  2  =8 

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I  a!  n  * 

I  °  P  >» 
1  _  "  n 

>5 

m  > 


so  o 
2  K 


I  u>  •»  o  o 

'  a  o  M  c 

;  o  r  tn  -) 

,  H  r  w  * 

I  „  o  > 


X  B  O  O  > 

C  m  n  •«  r 

2  "  2  •< 

5  58  o  "•  *■ 

z  o  S  ..  z 


o  ^ 


"  r  H 


Wna 

a  15 


H  2  f  K 

M  ■«  5 

-  a  ? 

•  >  <» 

I  ~  ui  n 

5  •<  " 


5  Q 


!<  W  ?!  S 


t-i  "  J^  «  *-• 

■  5  ?  ? 

S   2  M  " 

"7  a  o  M 


THE  COURT  OF  THE  FOUR  SEASONS 

muscles.  It  makes  the  figures  seem  life-like.  The  work 
reminds  me  of  the  figure  of  The  Outcast,  by  the  sculptor's 
brother,  Attilio  PiccirilH,  that  we  shall  see  in  the  colon- 
nade of  the  Fine  Arts  Palace.  So  many  sculptors  like  to 
secure  these  smooth,  meaningless  surfaces  that  excite  ad- 
miration among  those  people  who  care  for  mere  pretti- 
ness.  It  is  just  about  as  admirable  as  the  smoothing  out 
of  character  lines  from  a  photograph.  But  the  Piccirillis 
go  at  their  work  like  genuine  artists." 

Those  murals  we  were  inclined  to  regard  as  somewhat 
too  simple  and  formal.  "After  all,"  said  the  architect,  "it's 
a  question  whether  this  kind  of  effort  is  in  the  right 
direction.  So  often  it  leads  to  what  seems  like  acting  in 
art,  regarded  by  some  people  as  insincerity.  At  any  rate, 
the  best  that  can  be  said  of  it  is  that  it's  clever  imitation. 
But  here  it  blends  in  with  the  feeling  of  the  court  and 
it  gives  bright  spots  of  color.  Guerin  has  gone  as  close 
to  white  as  he  dared.  So  he  felt  the  need  of  strong  color 
contrasts,  and  he  got  Bancroft  to  supply  them.  And  the 
colors  are  repeated  in  the  other  decorations  of  the  court. 
It's  as  if  the  painter  had  been  given  a  definite  number  of 
colors  to  work  with.  In  this  matter  of  color,  by  the  way, 
Bancroft  had  a  big  advantage  over  the  old  Roman  paint- 
ers. Their  colors  were  very  restricted.  In  this  court  they 
might  have  allowed  more  space  for  the  murals.  They're 
not  only  limited  in  size,  but  in  shape  as  well.  Bancroft 
used  to  call  them  his  postage-stamps." 

In  the  entrance  court  we  found  Evelyn  Beatrice  Long- 
man's "Fountain  of  Ceres,"  the  last  of  the  three  foun- 
tains done  on  the  grounds  by  women,  and  decidedly  the 
most  feminine.  "Mrs.  Longman  hasn't  quite  caught  the 
true  note,"  the  architect  remarked.  "The  base  of  the  foun- 
tain is  interesting,  though  I  don't  care  for  the  shape.  But 
the  figure  itself  is  too  prim  and  modish.  Somehow  I  can't 
think  of  Ceres  as  a  very  proper  old  maid,  dressed  with 
modern  frills.  The  execution,  however,  shows  a  good 
deal  of  skill.  The  frieze  might  be  improved  by  the  soften- 

rs9i 


THE  CITY  OF  DOMES 

ing  of  those  sharp  lines  that  cut  out  the  figures  like  paste- 
board. And  these  women  haven't  as  much  vitality  as  that 
grotesque  head  down  near  the  base,  spouting  out  water." 
The  architect  glanced  up  and  noticed  the  figure  of 
"Victory"  on  one  of  the  gables,  so  often  to  be  seen  dur- 
ing a  walk  over  the  grounds.  "There's  more  swing  to 
that  figure  than  to  the  one  here,  and  yet  there's  a  certain 
resemblance  between  them.  They  both  show  the  same  in- 
fluence, the  Winged  Victory  of  Samothrace.  Of  course. 
Miss  Longman  has  purposely  softened  the  effect  on  ac- 
count of  the  mildness  of  her  subject.  But  she  might  have 
been  more  successful  with  her  draperies  if  she  had  fol- 
lowed the  suggestions  in  the  Winged  Victory  more 
closely.  There  the  treatment  of  the  draperies  is  magnifi- 
cent. Both  the  Greeks  and  the  Romans  were  very  fond  of 
this  type  of  figure.  And  it's  often  found  among  the  ruins 
of  Pompeii,  which  kept  so  close  to  Rome  in  its  artistic 
enterprise." 

The  need  of  separating  the  entrance  to  the  Court  of  the 
Four  Seasons  from  Ryan's  display  of  scintillators  on  the 
imitation  of  Morro  Castle  at  the  edge  of  the  bay,  had 
given  John  McLaren  a  chance  to  create  another  of  these 
deep  green  masses  that  surrounded  the  pool.  It  shut  the 
court  off  from  the  rest  of  the  world  and  deepened  the 
intimacy,  leaving,  however,  glimpses  of  the  bay  and  the 
hills  beyond. 


[60] 


IX 

THE  PALACE  OF  FINE  ARTS  FROM 
ACROSS  THE  LAGOON 

N  RETURNING  to  the  Court  of  the  Four 
Seasons,  we  started  along  another  of  those 
inner  courts,  made  charming  by  those 
Spanish  doorways  and  by  the  twisted  col- 
umns, a  favorite  of  the  Romans,  evidently 
borrowed  from  the  Orientals.  "All  through 
the  Exposition,"  the  architect  remarked,  "we  are  reminded 
of  the  Oriental  fondness  for  the  serpent.  Some  people  like 
to  say  that  it  betrays  the  subtlety  and  slyness  of  the  Ori- 
ental people.  But  they  admired  the  serpent  chiefly  because, 
in  their  minds,  it  represented  wisdom,  the  quiet  and  easy 
way  of  doing  things,  a  little  roundabout  perhaps,  but  often 
better  than  the  method  of  opposition  and  attack." 

Before  us,  looking  down  as  if  from  an  eminence,  stood 
the  Palace  of  Fine  Arts.  The  architect  reminded  me  of  the 
clever  planning  that  had  placed  this  magnificent  concep- 
tion in  so  commanding  a  position,  looking  down  into  the 
courts,  on  what  he  called  "the  main  axis." 

"It's  the  vision  of  a  painter  who  is  also  a  poet,  worked 
out  in  terms  of  architecture.  Maybeck  planned  it  all,  even 
to  the  details.  He  wanted  to  suggest  a  splendid  ruin, 
suddenly  come  upon  by  travelers,  after  a  long  journey  in 
a  desert.  He  has  invested  the  whole  place  with  an  at- 
mosphere of  tragedy.  It's  Roman  in  feeling  and  Greek 
in  the  refinement  of  its  ornamentation.  That  rotunda  re- 
minds one  of  the  Pantheon  in  Rome.  Those  Corinthian 
columns,  with  the  melancholy  drooping  of  the  acanthus 
and  the  fretwork  and  the  frieze,  by  Zimm,  are  suggestive 
of  Greece.  Maybeck  says  that  his  mind  was  started  on 
the  conception,  'The  Island  of  Death,'  by  Boecklin,  the 
painting  that  the  German  people  know  so  well  as  the 
'Todteninsel,'  and  by  'The  Chariot  Race,'  of  Gerome." 

[6i] 


THE  CITY  OF  DOMES 

The  architect  went  on  to  say  that  the  resemblance  was 
remote  and  chiefly  interesting  as  showing  how  a  great 
artist  could  carry  a  suggestion  into  an  entirely  new  realm. 
The  Boecklin  painting  merely  suggested  the  general  scope 
of  the  Work,  and  the  chariot  race  gave  the  hint  for  that 
colonnade,  which  Maybeck  had  made  so  original  and 
graceful  by  the  use  of  the  urns  on  top  of  groups  of  col- 
umns with  the  figure  of  a  woman  at  each  corner.  He  had 
used  that  somewhat  eccentric  scheme  on  account  of  its 
pictorial  charm.  All  through  the  construction  Maybeck 
had  defied  the  architectural  conventions ;  but  he  had  been 
justified  by  his  success. 

My  attention  was  directed  to  a  group  of  columns  at  the 
end  of  the  colonnade.  "There's  just  a  hint  of  the  Roman 
Forum  over  there.  Perhaps  it's  accidental.  Perhaps  it's 
developed  from  a  picture  way  down  in  Maybeck's  con- 
sciousness. However,  the  idea  of  putting  two  columns  to- 
gether in  just  that  way  comes  from  the  French  Renais- 
sance. The  great  French  architect,  Perrault,  used  it  in 
the  Louvre.  In  the  competition  he  won  out  over  Bernini, 
who  is  living  again  in  the  Court  of  the  Universe.  It  gives 
great  architectural  richness." 

People  had  wondered  what  McLaren  had  meant  to  in- 
dicate by  the  high  hedges  he  had  made  over  there  with 
his  dew  plant.  He  had  merely  carried  out  the  designs 
put  into  his  hands.  Maybeck  had  intended  the  hedge  to 
be  used  as  a  background  for  willow  trees  that  were  to 
run  up  as  high  as  the  frieze,  in  this  way  gaining  depth. 
Through  those  trees  the  rotunda  was  to  be  glimpsed. 
Willow  trees,  with  overhanging  boughs,  were  also  to  be 
planted  along  the  edge  of  the  lagoon,  the  water  running 
under  the  leaves  and  disappearing. 

In  the  lagoon  swans  were  swimming  and  arching  their 
long  necks.  "The  old  Greeks  and  Romans  would  have 
loved  this  scene,  though  they  would,  of  course,  have 
found  alien  influences  here,"  said  the  architect.  "They 

[62] 


THE  PALACE  OF  FINE  ARTS  FROM  ACROSS  THE  LAGOON 

would  have  enjoyed  the  sequestration  of  the  Palace,  its 
being  set  apart,  giving  the  impression  of  loneliness.  The 
architects  were  shrewd  in  making  the  approach  long  and 
circuitous." 

"They  might  have  done  more  with  the  water  that  was 
here  before  they  filled  in,"  I  said.  "It  offered  fine 
chances." 

"Yes,  and  they  thought  of  them  and  some  ambitious 
plans  were  discussed.  But  the  expense  was  found  to  be 
prohibitive." 

At  that  moment  a  guard,  in  his  yellow  uniform  with 
brass  buttons,  came  forward  with  a  questioning  lady  at 
his  side.  They  stood  so  close  to  us  that  we  could  not  help 
hearing  their  talk. 

"What  are  those  women  doing  up  there  ?" 

The  guard  looked  at  the  urns,  surmounting  the  col- 
umns. "They're  supposed  to  be  crying,"  he  said. 

"What  are  they  crying  about?" 

The  guard  looked  a  little  embarrassed.  "They  are  cry- 
ing over  the  sadness  of  art,"  he  said.  Then  he  added  some- 
what apologetically,  "Anyway,  that's  what  the  lecturer 
told  us  to  say." 

The  lady  appealed  to  us  for  information.  "What  this 
gentleman  says  is  true,"  remarked  the  authority  at  my 
side.  "The  architect  intended  that  those  figures  should  ex- 
press something  of  the  sadness  of  life  as  reflected  in  art." 

"Oh,"  said  the  lady,  as  if  she  only  half  understood. 

Then  she  and  the  guard  drifted  away. 

"Those  people  have  unconsciously  given  us  a  bit  of  art 
criticism,  haven't  they?  One  of  the  most  pictorial  notes  in 
this  composition  of  Maybeck's  is  the  use  of  these  figures. 
But  it's  also  eccentric  and  it  puzzles  the  average  looker-on 
who  is  always  searching  after  meanings,  according  to  the 
literary  habit  of  the  day,  the  result  of  universal  reading. 
Perhaps  the  effect  would  have  been  less  bewildering  if 
those  urns  were  filled  with  flowers  as  Maybeck  intended 
they  should  be.  Then  the  women  would  have  seemed  to 
be  bending  over  the  flowers.  The  little  doors  were  put  into 

[63I 


THE  CITY  OF  DOMES 

the  urns  so  that  the  man  in  charge  of  the  flowers  could 
reach  up  to  them.  But  this  item  of  expense  was  included 
among  the  sacrifices." 

The  coloring  of  the  columns  had  been  a  subject  of  some 
criticism.  The  ochre  columns  were  generally  admired ;  but 
the  green  columns  were  considered  too  atmospheric  to 
give  the  sense  of  support.  And  that  imitation  of  green 
marble  directly  vmder  the  Pegasus  frieze  of  Zimm's,  near 
the  top,  had  been  found  to  bear  a  certain  resemblance  to 
linoleum.  But  in  applying  the  colors  Guerin  had  worked 
with  deliberate  purpose.  The  green  under  the  frieze  was 
really  a  good  imitation  of  marble,  and  the  shade  used  on 
the  column  suggested  the  weather-beaten  effect  associated 
with  age. 

"There  are  columns  that,  in  my  opinion,  have  more 
beauty  than  those  Maybeck  used.  But  that's  a  matter 
of  taste.  In  themselves  those  columns  are  fine  and  thev 
blend  into  impressive  masses.  That  altar  under  the 
dome,  with  the  kneeling  figure,  only  a  great  artist 
could  have  conceived  in  just  that  way.  Ralph  Stack- 
pole,  the  sculptor  of  the  figure,  worked  it  out  in  perfect 
harmony  with  Maybeck's  idea.  To  appreciate  his  skill 
one  ought  to  get  close  and  see  how  roughly  it  has  been 
modeled  in  order  that  the  lines  should  be  clear  and 
yet  give  an  effect  of  delicacy  across  the  lagoon.  And 
those  trees  along  the  edge  of  the  lagoon,  how  grace- 
fully they  are  planted,  in  the  true  Greek  spirit.  The 
lines  in  front  of  the  rotunda  are  all  good,  as  they  run 
down  to  the  water's  edge.  And  how  richly  McLaren 
has  planted  the  lagoon.  He  has  given  just  the  luxuriance 
that  Maybeck  wanted." 

THE  WESTERN  WALL 

We  turned  to  get  the  effect  of  the  western  wall 
looking  out  on  this  magnificence.  "Faville  has  done 
some  of  his  finest  work  there.  All  over  the  Exposition 
he  has  expressed  himself;  but  as  his  name  is  not  con- 
nected with  one  of  the  great  courts  we  don't  hear  it 

[64] 


<  O  f>   H 

Saga 

1   O   5!   ^ 

:      SO 
•  o  >  3 

iH,:<S: 


55 


as  !»  2  o 

H  «  *  •« 

>  "«  J  ^ 

"  *  -  i 

a!  O  M  n 


M  "-I  o  «  3 

D   2!  -fl   so   i 

o  o  •»    n 

hhES  ^5 
"  ts  t"  S 

°  i!i 

*"  **  r-  2  5 

z  K  w 
Off 


THE  PALACE  OF  FINE  ARTS  FROM  ACROSS  THE  LAGOON 

very  much.  When  he  tackled  the  Western  Wall  he  had 
one  of  the  hardest  of  his  problems.  There  was  a  big 
expanse  to  be  made  interesting  and  impressive,  without 
the  aid  of  towers  or  courts.  It  was  a  brilliant  idea  to 
break  the  monotony  with  those  two  splendid  Roman 
half -domes." 

The  figure  of  "Thought"  on  the  columns  in  front  of 
the  Dome  of  Plenty  and  repeated  on  the  Dome  of 
Philosophy  started  the  architect  talking  on  the  subject 
of  character  and  art.  "Only  a  sculptor  with  a  very 
fine  nature  could  have  done  that  fellow  up  there.  In 
that  design  Stackpole  shows  the  qualities  that  he 
shows  in  the  kneeling  girl  at  the  altar  in  the  rotunda 
across  the  lagoon  and  in  his  figure  of  the  common 
laborer  and  the  little  group  of  artisans  and  artists  that 
we  shall  see  on  the  doorway  of  the  Varied  Industries. 
They  include  fineness  and  cleanness  of  feeling,  rever- 
ence and  tenderness.  This  particular  figure  is  one  of 
three  figures  on  the  grounds  that  stand  for  virtually 
the  same  subject,  Rodin's  "Thinker,"  in  the  courtyard 
of  the  French  Building,  and  Chester  Beach's  "Think- 
er," in  the  niches  to  the  west  and  east  of  the  tower  in 
the  Court  of  the  Ages.  They  are  all  different  in  char- 
acter. Stackpole's  gives  the  feeling  of  gentle  contem- 
plation. That  man  might  be  a  poet  or  a  philosopher  or 
an  inventor;  but  a  man  of  the  kind  of  thought  that 
leads  to  action  or  great  achievement  in  the  world — 
never.  You  can't  think  of  him  as  competing  with  his 
whole  heart  and  soul  in  order  to  get  ahead  of  other 
men.  However,  it  would  be  an  achievement  just  to  be 
that  type  and  it's  a  good  type  to  be  held  up  to  us  for  our 
admiration,  better  than  the  conventional  ideal  of  suc- 
cess embodied  in  the  Adventurous  Bowman,  for  ex- 
ample." 

The  proportions  of  the  domes  we  could  see  at  a 
glance  had  been  well  worked  out.  Earl  Cummings'  figure 
of  the  Youth  had  a  really  youthful  quality ;  but  there 

[6sl 


THE  CITY  OF   DOMES 

was  some  question  in  our  minds  as  to  the  wisdom  of 
repeating  the  figure  in  a  semi-circle.  "After  all,"  the 
architect  remarked,  "in  this  country  art  owes  some 
concession  to  habit  of  mind.  We  are  not  trained  to  frank- 
ness in  regard  to  nudity.  On  the  contrary,  all  our  con- 
ventions are  against  it.  But  our  artists,  through  their 
special  professional  training,  learn  to  despise  many  of 
our  conventions  and  they  like  to  ignore  them  or  frank- 
ly show  their  contempt  for  them." 

That  elaborate  Sienna  fountain  was  well  adapted  to 
the  Dome  of  Plenty,  though  it  was  by  no  means  a  fine 
example  of  Italian  work,  with  its  design  built  up  tier 
on  tier.  "It's  the  natural  expression  of  a  single  idea 
that  leads  to  beauty,  isn't  it?  The  instant  there's  a  be- 
trayal of  effort,  the  charm  begins  to  fade." 

There  was  no  criticism  to  be  made,  however,  of  the 
Italian  fountain  in  the  Dome  of  Philosophy,  the  sim- 
plest of  all  the  fountains,  and  one  of  the  most  beautiful, 
the  water  flowing  over  the  circular  bowl  from  all  sides. 
"It  makes  water  the  chief  feature,"  said  the  architect 
approvingly,  "which  is  the  best  any  fountain  can  do. 
Is  there  anything  in  art  that  can  compare  for  beauty 
with  running  water?  This  fountain  comes  from  Italy 
and  these  female  figures,  above  the  doorway,  with 
books  in  their  arms,  are  by  one  of  the  most  interesting  of 
the  sculptors  represented  here,  Albert  Weinert.  We'll  see 
more  work  of  his  when  we  get  to  the  Court  of  Abun- 
dance." 

At  sight  of  the  curious  groups  in  the  niches  I  ex- 
pressed a  certain  disappointment.  It  seemed  to  me 
that,  in  the  midst  of'  so  much  real  beauty,  they  were 
out  of  key.  But  the  architect  had  another  point  of 
view.  "They  are  worth  while  because  they're  different," 
he  said.  "They  ought  not  to  be  considered  merely  as 
ornaments.  They  have  an  archaeological  interest.  They 
are  related  to  those  interesting  studies  that  Albert 
Durer  used  to  make,  and  they  are  full  of  symbolism. 

[66] 


"the  thinker,"   by   AUCUSTE   RODIN,   GENERALLY   ACCEPTED 
AS   THE  GREATEST  OP  LIVING  SCULPTORS,   IN    THE   COURT   OF 
THE   FRENCH    BUILDING.     IT  WAS   DESIGNED  TO   SURMOUNT 
SODIN's    "GATES   OP    HELL"   AND   TO    LOOK    DOWN    ON    THE 
FIGURES    BENEATH.      SOME    OBSERVERS    FIND    A    CONTRADIC- 
TION    BETWEEN    THE    GREAT     PHYSICAL    STRENGTH,    SUG- 
GESTING   THE    ELEMENTAL    MAN,    AND    THE    EXPRESSION    OF 
PHILOSOPHICAL    CONTEMPLATION,    SUGGESTING    THE    MAN 
OF    INTELLECT.     OTHERS   DISCOVER   A   SYMBOL  OF   THE    MASS 
OF    MANKIND    BROODING   ON    THE    MEANING   OF    LIFE.     FROM 
THE    POINT    OF   VIEW    OF    SCULPTURE    WHAT    IS    MOST    SIG- 
NIFICANT ABOUT   THE   FIGURE    IS  THE    ROBUSTNESS   OF   THE 
MODELLING,    CHARACTERISTIC    OF    RODIN. 


THE  PALACE  OF  FINE  ARTS  FROM  ACROSS  THE  LAGOON 

When  Charles  Harley  made  them  he  knew  just  what 
he  was  doing.  The  male  figure  in  'The  Triumph  of  the 
Fields'  takes  us  back  to  the  time  when  harvesting  was 
associated  with  pagan  rites.  The  Celtic  cross  and  the 
standard  with  the  bull  on  top  used  to  be  carried 
through  the  field  in  harvest  time.  The  bull  celebrates 
the  animal  that  has  aided  man  in  gathering  the  crops. 
The  wain  represents  the  old  harvest  wagon.  That 
head  down  there  typifies  the  seed  of  the  earth,  symbol 
of  the  life  that  comes  up  in  the  barley  that  is  in- 
dicated there,  bringing  food  to  mankind.  The  woman's 
figure,  unfortunately,  is  too  small  for  the  niche, 
'Abundance.'  The  horn  of  plenty  on  either  side  indi- 
cates her  character.  She's  reaching  out  her  hands  to 
suggest  her  prodigality.  The  head  of  the  eagle  on  the 
prow  of  the  ship  where  she  is  sitting,  gives  the  idea 
an  American  application,  suggesting  our  natural  pros- 
perity and  our  reason  for  keeping  ahead  in  the  march 
of  progress.  In  one  sense,  those  figures  represent  a 
reactionary  kind  of  sculpture.  Nowadays  the  sculptors, 
like  the  painters,  are  trying  to  get  away  from  literal 
interpretations.  They  don't  want  to  appeal  to  the  mind 
so  much  as  to  the  emotions." 


[67] 


X 

THE  PALACE  OF  FINE  ARTS 
AT  CLOSE  RANGE 


U^t^Tj^v 

1 

HE  path  leading  to  the  northern  end  of  the 
colonnade  attracted  us.  It  brought  us  to  the 
beautiful  little  grove  of  Monterey  cypress 
that  McLaren  had  saved  from  the  old  Har- 
bor View  restaurant,  for  so  many  years 
one  of  the  most  curious  and  picturesque  of 
the  San  Francisco  resorts,  one  of  the  few  on  the  bay-side. 
Though  the  architect  frankly  admired  Paul  Bartlett's  real- 
istic "Wounded  Lion,"  the  pieces  of  sculpture  set  out  on 
the  grass  bothered  him  somewhat.  He  couldn't  find  any 
justification  for  their  being  there.  He  wanted  them,  as  he 
said,  in  a  setting.  "I  think  I  can  see  what  the  purpose 
was  in  putting  them  here,  to  provide  decoration  that 
would  be  unobtrusive.  But  some  of  these  pieces,  like 
Bartlett's,  stand  out  conspicuously  and  deserve  to  be 
treated  with  more  consideration.  Besides,  there's  always 
danger  of  weakening  a  glorious  conception  like  May- 
beck's  by  putting  too  many  things  into  it,  creating  an 
artistic  confusion." 

We  began  to  see  how  the  colonnade  in  Gerome's 
painting  had  worked  its  influence.  It  was  easy  to  imagine 
two  chariots  tearing  along  here,  between  the  columns, 
after  the  ancient  fashion.  And  those  bushes,  to  the  right, 
rising  on  the  lower  wall,  between  the  vases,  surely  had 
the  character  of  over-growth.  They  carried  out  May- 
beck's  idea  of  an  abandoned  ruin. 

The  architect  pointed  to  the  top  of  the  wall :  "The 
little  roof-garden  on  the  edge  of  the  upper  wall  gives  the 
Egyptian  note  in  the  architecture  that  many  people  have 
felt  and  it  is  emphasized  by  the  deep  red  that  Guerin  has 
applied,  the  shade  that's  often  found  in  Egyptian  ruins." 


[68] 


THE  PALACE  OF  FINE  ARTS  AT  CLOSE  RANGE 

Above  the  main  entrance  of  the  palace  we  saw  LenteUi's 
"Aspiration,"  that  had  been  the  cause  of  so  much  criticism 
and  humorous  comment  during  the  first  few  weeks  of  the 
Exposition.  "LentelH  had  a  hard  time  with  that  figure. 
It  drove  him  almost  to  distraction.  Perhaps  a  genius 
might  have  solved  the  problem  of  making  the  figure  seem 
to  float ;  but  I  doubt  if  it  could  have  been  solved  by  any- 
one. The  foot-rest  they  finally  decided  to  put  under  it 
didn't  help  the  situation  much." 

Directly  in  front  of  "Aspiration,"  on  its  high  pedestal, 
stood  Charles  Grafly's  monumental  statue  of  "The  Pio- 
neer Mother."  "I  suppose  the  obvious  in  sculpture  has  its 
place,"  the  architect  remarked,  "and  this  group  will  ap- 
peal to  popular  sentiment.  Its  chief  value  lies  in  its 
celebrating  a  type  of  woman  that  deserves  much  more 
recognition  than  she  has  received  in  the  past.  Most  of 
the  glory  of  the  pioneer  days  has  gone  to  the  men.  The 
women,  however,  in  the  background,  had  to  share  in  the 
hardships  and  often  did  a  large  part  of  the  work.  It's  a 
question  in  my  mind  whether  this  woman  quite  repre- 
sents the  vigorous  type  that  came  over  the  plains  in  the 
prairie  schooner.  However,  just  as  she  is,  she  is  fine,  and 
she  has  a  strong  hand  that  looks  as  if  it  had  been  made 
for  spanking.  I  wonder  why  the  sculptor  gave  her  that 
kind  of  head-covering.  She  might  have  appeared  to  better 
advantage  bare-headed.  The  children  are  excellent.  Ob- 
serve the  bright  outlook  of  the  boy  and  the  timid  attitude 
of  the  girl.  There's  a  fine  tenderness  in  the  care  the  girl 
is  getting  from  her  mother  and  from  the  boy,  too,  sug- 
gesting dawning  manhood.  Altogether,  the  group  has 
nobility  and  it's  worthy  of  being  a  permanent  monument 
for  San  Francisco.  By  the  way,  there's  the  old  Roman 
idea  of  the  decorative  use  of  the  bull's  head  again,  at  the 
base  of  the  group.  It  has  a  very  happy  application  here. 
It  reminds  us  of  the  oxen  that  helped  to  get  the  Eastern- 
ers out  to  California  in  the  old  days  before  the  railroads. 
A  good  many  of  them  must  have  dropped  in  their  tracks 
and  left  their  skulls  to  bleach  in  the  sun." 

1691 


THE  CITY  OF   DOMES 

The  other  ornamental  design  we  found  very  appropri- 
ate and  direct,  as  we  studied  the  pedestal.  There  was  the 
ship  that  used  to  go  round  the  horn,  with  the  torches  that 
suggested  civilization,  and,  at  the  back  of  the  pedestal, 
the  flaming  sun  that  celebrated  the  Golden  Gate. 

In  the  rotunda  we  found  Paul  Bartlett,  represented 
again  by  the  equestrian  statue  of  Lafayette,  in  full  uni- 
form, advancing  sword  in  the  air.  It  unquestionably  had  a 
magnificent  setting,  though  it  suffered  by  being  surround- 
ed by  so  many  disturbing  interests.  "The  director  of  the 
Fine  Arts  Department  cared  enough  about  this  figure  to 
have  it  duplicated  for  the  Exposition.  It's  a  good  example 
of  the  old-fashioned  heroic  sculpture,  where  the  subjects 
take  conventional  dramatic  attitudes." 

The  ceiling  of  the  rotunda  displayed  those  much- 
discussed  murals  by  Robert  Reid.  Up  there  they  seemed 
like  pale  reflections.  "You  should  have  seen  them  when 
they  were  in  Machinery  Hall.  Then  they  were  magnifi- 
cent. But  the  instant  they  were  put  in  place  it  was  plain 
that  the  effect  had  been  miscalculated.  At  night,  under 
the  lighting,  they  show  up  better.  Judged  by  themselves, 
apart  from  their  surroundings,  they  are  full  of  inspiration 
and  poetry.  Only  a  man  of  genuine  feeling  and  with  a  fine 
color-sense  could  have  done  them.  But  in  all  this  splendor 
of  architecture  they  are  lost." 

On  examining  them  in  detail  we  found  that  they  cov- 
ered an  extraordinarily  wide  range  of  fancy,  graceful  and 
dramatic,  even  while,  save  in  one  panel,  they  showed  an 
indifference  to  story-telling.  One  group  celebrated  "The 
Birth  of  European  Art,"  with  the  altar  and  the  sacred 
flame,  tended  by  a  female  guardian  and  three  helpers,  and 
with  a  messenger  reaching  from  his  chariot  to  seize  the 
torch  of  inspiration  and  to  bear  it  in  triumph  through  the 
world,  the  future  intimated  by  the  crystal  held  in  the 
hands  of  the  woman  at  the  left.  Another,  "The  Birth  of 
Oriental  Art,"  told  the  ancient  legend  of  a  Chinese  war- 

[70] 


LEO    LENTELLI  S       ASPIRATION,       ABOVE    THE 
ENTRANCE    TO    THE    PALACE    OF    FINE    ARTS. 
IT   WAS   AT   FIRST    INTENDED   THAT    IT 
SHOULD   SUGGEST   A   FLOATING   FIGURE,    BUT 
AS    IT    SEEMED    TO    BE    CAUGHT    UNDER    THE 
HORIZONTAL  LINE  BEHIND  THE   HEAD,   A 
PEDESTAL   WAS   DEVISED  TO   GIVE   IT  APPAR- 
ENT   SUPPORT. 


THE  PALACE  OF  FINE  ARTS  AT  CLOSE  RANGE 

rior  who,  seated  on  the  back  of  a  dragon,  gave  battle  to 
an  eagle,  the  symbol  relating  to  man's  seeking  inspiration 
from  the  air.  "Ideals  in  Art"  brought  forward  more  or 
less  familiar  types :  the  Madonna  and  the  Child,  Joan  of 
Arc,  Youth  and  Beauty,  in- the  figure  of  a  girl,  Vanity  in 
the  Peacock,  with  more  shadowy  intimations  in  two  mys- 
tical figures  in  the  background,  the  tender  of  the  sacred 
flame  and  the  bearer  of  the  palm  for  the  dead,  and  the 
laurel-bearer  ready  to  crown  victory.  "The  Inspiration  in 
All  Art"  revealed  the  figures  of  Music,  Architecture, 
Painting,  Poetry  and  Sculpture.  Four  other  panels  glori- 
fied the  four  golds  of  California,  gold,  wheat,  poppies  and 
oranges,  a  happy  idea,  providing  opportunities  for  the 
splendid  use  of  color. 

"It's  a  pity  those  murals  couldn't  have  been  tried  out  up 
there  and  then  taken  down  and  done  over,"  said  the  archi- 
tect. "But  sometime  they  will  find  the  place  where  they 
belong,  perhaps  in  one  of  our  San  Francisco  public  build- 
ings. They're  too  good  not  to  have  the  right  kind  of 
display." 

"The  Priestess  of  Culture,"  by  Herbert  Adams,  one  of 
the  best-known  of  American  sculptors,  eight  times  repeat- 
ed, we  felt,  had  its  rightful  place  up  there  and  blended 
into  the  general  architectural  scheme.  But  some  of  the 
other  pieces  of  statuary  might  have  been  left  out  with 
advantage. 

Through  the  columns  we  caught  many  beautiful  vistas. 
And  those  groups  of  columns  themselves  made  pictures. 
"What  is  most  surprising  about  this  palace  is  the  way 
it  grows  on  you.  The  more  familiar  you  are  with  it 
the  more  you  feel  the  charm.  Maybeck  advises  his  friends 
to  come  here  by  moonlight  when  they  can  get  just  the 
eflfect  he  intended.  In  all  the  Exposition  there's  no  other 
spot  quite  so  romantic.  It  might  have  been  built  for 
lovers." 


[71I 


XI 
AT  THE  PALACE  OF  HORTICULTURE 

T  THE  Palace  of  Horticulture  the  archi- 
tect said:  "Here  is  the  Mosque  of  Ahmed 
the  First,  taken  from  Constantinople  and 
adapted  to  horticulture  and  to  the  Expo- 
sition. It  has  a  distinct  character  of  its 
own.  It  even  has  temperament.  So  many 
buildings  that  are  well  proportioned  give  the  impression 
of  being  stodgy  and  dull.  They  are  like  the  people  that 
make  goodness  seem  uninteresting.  But  here  is  use  that 
expresses  itself  in  beauty  and  adorns  itself  with  appro- 
priate decoration." 

When  I  mentioned  that  some  people  found  this  building 
too  ornate,  the  architect  replied : 

"There's  an  intimate  and  appropriate  relation  between 
the  ornament  and  the  architecture.  Personally  I  shouldn't 
care  to  see  just  this  kind  of  building  in  the  heart  of  the 
city,  where  you'd  have  it  before  your  eyes  every  day. 
But  for  the  Exposition  it's  just  right.  And  how  fitting 
it  is  that  the  splendid  dome  should  be  the  chief  feature 
of  a  building  that  is  really  an  indoor  garden  and  that  the 
most  prominent  note  of  the  coloring  should  be  green, 
nature's  favorite  and  most  joyous  color.  Some  joker," 
he  went  on,  "says  that  this  Exposition  is  domicidal.  He 
expresses  a  feeling  a  good  many  people  have  here,  that 
there  are  too  many  domes.  But  I  don't  agree.  The  domes 
make  a  charming  pictorial  effect,  and  they  harmonize 
with  the  general  spirit  of  the  architecture.  And  as  for 
this  dome,  it  is  one  of  the  greatest  in  the  world.  See  how 
cleverly  the  architects,  following  the  spirit  of  the  French 
Renaissance,  have  used  those  ornamental  shafts.  The 
only  criticism  that  can  be  made  on  them  is  that  they  serve 
no  architectural  purpose,  which  ought,  of  course,  always 
to  be  intimately  associated  with  use.  Instead  of  growing 
from  the  nature  of  the  building,  they  are  put  on  from 
outside.  Now,  in  the  mosque  they  were  very  important 
in  their  service.  They  were  the  minarets  where  the  Muez- 

172}        . 


AT  THE  PALACE  OF  HORTICULTURE 

zins  used  to  stand  in  order  to  call  the  faithful  to  prayer. 
Those  minarets  up  there,  carrying  on  the  dome  motive,  on 
the  corners  of  the  walls  of  the  main  palaces  are  much 
closer  to  the  old  idea." 

Our  talk  turned  to  the  subject  of  domes  in  general. 
The  idea  had  come  from  the  bees,  from  the  shape  of 
their  hives.  Prehistoric  man  used  for  a  dwelHng-place 
a  hut  shaped  like  a  hive,  as  well  as  an  imitation  of 
a  bird's  nest.  In  formal  architecture,  the  dome  showed 
itself  early.  The  Greeks  knew  it;  but  they  didn't  use  it 
much.  The  greatest  users  of  the  dome  were  the  Byzan- 
tines. It  was  all  dome  with  them.  The  first  important 
dome  was  built  in  Rome  in  the  second  century,  to  crown 
the  Pantheon.  Of  all  the  domes  in  the  world  the  most 
interesting  historically  was  St.  Peter's,  the  work  of  sev- 
eral architects.  It  was  the  inspiration  of  the  dome  of  St. 
Paul's  in  London,  built  by  the  English  architect.  Sir 
Christopher  Wren.  Architecturally  the  most  interesting 
of  the  domes  was  Brunelleschi's,  built  for  the  Florence 
Cathedral  in  the  fifteenth  century,  known  throughout  the 
world  by  the  Italian  name  for  Cathedral,  the  Duomo. 

It  was  in  connection  with  the  Duomo  that  the  architect 
reminded  me  of  the  celebrated  story  about  Brunelleschi. 
When  the  Florentine  church  authorities  decided  to  build 
the  Duomo  they  were  puzzled  as  to  how  so  mighty  a 
dome  should  be  developed.  So  they  invited  the  architects 
to  appear  before  them  in  competition,  and  to  present  their 
ideas.  One  architect,  Donatello,  explained  that,  if  he 
secured  the  commission,  he  should  first  build  a  mound  of 
earth,  and  over  it  he  would  construct  his  dome.  But  the 
authorities  replied  that  there  would  be  great  labor  and 
expense  in  taking  the  earth  out.  He  said  that  he  would 
put  coins  into  the  earth  and,  by  this  means,  he  would  very 
quickly  have  the  earth  removed  by  the  people.  When 
Brunelleschi  was  asked  how  he  would  build  his  dome  he 
said:  "How  would  you  make  an  egg  stand  on  end?" 
They  didn't  know  how,  and  he  showed  them,  by  taking  a 

[73  1 


THE  CITY  OF  DOMES 

hard-boiled  egg  and  pressing  it  down  at  one  end,  an  idea 
like  the  one  that  occurred  to  Christopher  Columbus  about 
fifty  years  later. 

The  Palace  of  Horticulture  as  an  illustration  of  French 
Renaissance  architecture  fascinated  this  observer,  in  spite 
of  its  overelaborateness.  "It's  marvelous  to  think  of  what 
the  Renaissance  meant  throughout  Europe,"  he  said, 
"and  how  it  showed  itself  in  art  through  the  national 
characteristics.  French  Renaissance  and  Italian  Renais- 
sance, though  they  have  qualities  in  common,  are  very 
different.  And  you'll  find  marked  differences  even  in  the 
Renaissance  art  of  the  Italian  cities,  such  as  Rome  and 
Florence  and  Venice.  But  the  Renaissance  showed  that 
no  matter  how  far  apart  the  people  of  Europe  might 
have  been  they  were  all  stirred  by  a  great  intellectual 
and  spiritual  movement.  It  was  like  a  vast  moral  earth- 
quake. It  meant  the  rediscovery  and  the  joyous  recog- 
nition of  the  relation  of  the  past  to  the  present  and  the 
meaning  of  the  relation  for  mankind.  It  led  to  a  new 
kind  of  self -emancipation  and  individualism.  It  created 
art-forms  that  have  stamped  themselves  on  the  work  all 
over  these  grounds.  In  a  sense  it  was  a  declaration  of 
artistic  independence." 

"Is  there  really  such  a  thing  as  independence  in  art?" 
I  ventured  to  ask. 

The  architect  began  to  smile.  "I'm  afraid  there  isn't 
much  independence.  If  there  were  this  Exposition  would 
not  be  quite  so  intimately  related  to  Europe  and  the 
Orient.  But  wait  till  we  get  into  Mullgardt's  Court  of 
the  Ages.  Then  you'll  find  an  answer  to  your  question." 

At  this  palace  the  architect  found  much  to  speculate 
on.  "Here  is  one  of  the  few  buildings  in  the  whole  Ex- 
position done  in  what  might  be  called  the  conventional 
exposition  spirit.  I  like  it  immensely  as  an  exposition 
building,  but  I  should  hate  it  as  a  public  building  that  I 
had  to  see  every  day.  It's  too  fantastic.  In  this  place  it 
serves  its  purpose.  But  it  might  fit  into  a  setting  like  the 

[74] 


AT  THE  PALACE  OF  HORTICULTURE 

Golden  Gate  Park,  where  it  would  be  close  to  nature. 
Now  this  Exposition  is  very  different  from  most  of  the 
enterprises  of  the  kind  that  have  taken  place  in  Europe. 
It  is  probably  the  most  serious  exposition  ever  known, 
with  the  possible  exception  of  the  one  in  Chicago.  If  it 
were  in  a  great  European  capital,  for  example,  it  would 
mainly  express  the  spirit  of  gaiety.  But  the  builders  here, 
though  they  have  been  gay  in  their  use  of  color,  have 
been  tremendously  serious  in  purpose.  They  have  worked 
largely  for  the  sake  of  education." 

The  use  of  green  on  the  building  was  unquestionably 
one  of  the  most  successful  features  of  the  coloring,  par- 
ticularly when  it  suggested,  as  it  so  often  did,  old  copper. 
"To  me  the  deeper  green  that  Guerin  uses  is  the  more 
charming  shade,  far  more  charming,  for  instance,  than 
the  light  green  applied  to  Festival  Hall.  And  the  sug- 
gestion of  green  in  the  dome  is  altogether  delightful. 
But  it's  a  pity  they  didn't  use  another  kind  of  glass. 
When  people  criticise  Ryan  for  not  doing  more  with  his 
lighting  effects  in  this  dome  they  evidently  don't  know 
that  a  mistake  was  made  when  the  glass  was  sent  and 
Ryan  could  do  very  little  with  it.  In  order  to  carry  out 
his  original  plans  Ryan  would  have  to  apply  a  coat  of 
varnish  to  the  interior  of  the  dome,  a  rather  expensive 
process.  However,  it  may  be  done  later." 

RETURNING  TO  THE  SOUTH  GARDENS 

From  where  we  stood  we  could  get  a  good  view  of  those 
green  columns  in  the  Tower  of  Jewels,  occasionally  criti- 
cised as  being  too  atmospheric  to  give  the  sense  of 
support.  "Those  columns  were  colored  by  Guerin  to  get 
an  effect  of  contrast.  That  shade  was  one  of  the  first  of 
the  shades  he  experimented  with.  He  tried  it  out  on  the 
sashes  in  Machinery  Hall.  The  French  landscape  paint- 
ers used  it  a  good  deal  in  outdoor  scenes,  on  trellises,  for 
example.  It  made  a  pleasing  effect  against  the  deeper 
tones  of  the  grass  and  foliage.  The  notion  that  it  isn't 
suited  to  columns  seems  to  me  unwarranted.  As  a  matter 

[751 


THE  CITY   OF   DOMES 

of  fact,  there  are  several  kinds  of  green  stone  that  have 
often  been  successfully  used  for  columns  in  architecture, 
like  malachite  and  Connemara  marble.  The  Bank  of 
Montreal  has  some  magnificent  Connemara  colunms.  Of 
course,  the  use  up  there  is  theatrical,  exactly  as  Guerin 
intended  it  to  be.  People  seem  to  forget  that  Guerin  got 
his  earlier  training  as  a  scene  painter.  He  was  recog- 
nized as  one  of  the  greatest  scene  painters  of  his  time. 
He  deliberately  undertook  to  make  this  Exposition  a 
great  spectacle,  and  he  ought  to  be  judged  according  to 
what  he  tried  to  do.  It  seems  to  me  that  his  success  was 
astonishing.  He  created  a  picture  that  was  spectacular 
without  being  garish  or  cheap  and  that  harmonized  with 
the  dignity  and  the  splendor  of  the  architecture.  One 
explanation  of  his  success  lies  in  his  being  so  fond  of  the 
Orient,  where  the  architects  have  worked  in  color  as  far 
back  as  we  can  go.  Every  chance  he  makes  a  trip  to  the 
Orient  and  he  comes  back  with  a  lot  of  Oriental  canvases 
that  he  has  painted  there.  Only  a  lover  of  the  Orient 
would  have  dared  to  put  that  orange  color  on  the  domes. 
See  what  a  velvety  look  he  got,  almost  wax-like.  He  was 
careful  not  to  apply,  in  most  instances,  more  than  one 
coat  of  paint.  He  wanted  it  to  sink  in  and  to  become 
weathered.  He  knew  that  nature  was  the  greatest  of  all 
artists,  always  trying  to  remove  the  shiny  appearance  of 
newness  and  to  give  seasoning." 

As  we  looked  up  toward  the  center  of  the  South  Gar- 
den the  white  globes  on  the  French  lamp  posts  caught 
the  architect's  eye.  "Don't  you  remember  how  cheap  they 
looked  on  the  first  days  ?"  he  said.  "The  trouble  was  that 
they  were  too  white.  They  seemed  cold  and  raw.  So 
they  were  sprayed  with  a  liquid  celluloid  to  soften  them 
into  their  present  ivory  hue.  The  change  shows  how  im- 
portant detail  is,  and  how  carefully  Guerin's  department 
has  worked.  While  the  construction  was  going  on  there 
was  one  remark  that  often  used  to  be  heard,  Tt  will 
never  be  noticed,'  and  a  most  foolish  remark  it  was.  It 
showed  that  the  people  who  made  it  were  lacking  in 

[76] 


2  >  > 

M  H  " 


<  >  K  i  ° 

O   5j  OT  J 

Had 

2  ■  -  * 

I J^  -  ^  " 

1  ^  3;  n 

I  a  «  ^  o 

I         H  O  > 


r  •«  O  H  H  "« 


a  3J  "  'S  a 

'  f  2  "^  2  H 

>  m  ^  m  Q 

'^  n  P  3- 


2  H 


O  O  H 

c  c  a 

90  »  rq 


,  -i  o 


;  M 


5  o 


r,  M 


>  X  5 


O  ■  E 

I  *  >  u, 

'   M  Z  S 

n  n 


**     *     M     ^ 

a  o  3  m  « 

*•  •-  PI  J  o 
S   H  »   > 

o  0  ■<  -^  K 
<  V^  o  > 

i  f  ^  58 


a  n  . 

Z  H 


iaoH  r 

'  o  "^  2  as 

I  ?  -fl  2  " 

*     f*  2  w  ' 

I  2  2  >  **  1 


>  ^  n  m 

f*   M   M   O    C 


»  "  n 
3  01  n 


:  as  p" 


a  ^ 

H  > 


_,  O  2  tn  - 

H  ^  >  JO  -1 

a     L  w  > 

O  H  K  o  r 

G  a  .<»  2  J 


AT  THE  PALACE  OF  HORTICULTURE 

imagination.  Millions  of  eyes  have  been  watching  the 
details  of  this  Exposition  and  very  little  has  escaped 
notice." 

A  great  crowd  was  pouring  out  of  the  afternoon  con- 
cert in  Festival  Hall.  The  architect,  as  he  looked  on, 
remarked:  "It's  like  being  in  Paris,  isn't  it?  Or,  perhaps, 
it's  more  like  being  in  a  lovely  old  French  provincial  city, 
where  the  theater  is  the  chief  architectural  monument. 
It's  hard  for  me  to  understand  why  the  French  have 
encouraged  that  kind  of  architecture  for  their  theaters 
and  opera  houses.  It  seems  so  unrelated  to  sound,  which 
ought  to  give  the  clue  to  the  building.  The  use  of  the 
word  festival  here  is  a  little  old-fashioned  and  mislead- 
ing. It  doesn't  mean  what  we  usually  consider  festivity. 
It  is  essentially  a  concert  hall,  and  the  architecture  ought 
to  suggest  concentration  of  sound  by  being  built  in  a 
way  that  shall  make  such  concentration  inevitable.  But 
this  kind  of  building  is  obviously  related  to  dissipation  of 
sound.  No  wonder  the  acoustics  turned  out  bad  and  the 
interior  had  to  be  remodeled." 


[771 


XII 
THE  HALF  COURTS 

N  FRONT  of  the  Court  of  Palms  we 
stopped  to  admire  James  Earl  Eraser's 
"End  of  the  Trail,"  the  most  popular  group 
of  sculpture  in  the  Exposition.  "It  deserves 
all  its  popularity,  doesn't  it?  It's  finely 
imagined  and  splendidly  worked  out.-  The 
pony  is  excellent  in  its  modeling  and  the  Indian  is  won- 
derfully life-like." 

At  our  side  a  man  and  a  woman  were  standing,  the  man 
more  than  six  feet  tall,  with  broad  shoulders  and  a  face 
that  had  evidently  seen  a  good  deal  of  weather.  "I've 
known  fellers  just  like  that  Indian,"  we  heard  him  say, 
"up  in  Minnesota.  He  might  be  a  Blackfoot  after  a  couple 
of  days'  tusselling  with  the  wind  and  the  rain  in  the 
mountains.  I've  seen  'em  come  into  town  all  beat  out. 
The  man  that  made  that  statue  knew  his  business.  An'  I 
guess  he  knew  what  he  was  doing  when  he  called  it  'The 
End  of  the  Trail.'  " 

When  the  visitor  had  passed,  the  architect  said:  "The 
symbolism  gets  them  all,  doesn't  it,  and  the  realism,  too? 
But  Eraser  couldn't  have  expressed  so  much  if  he  hadn't 
put  a  lot  of  heart  into  his  work.  He  really  felt  all  that  the 
Indian  represented,  as  a  human  being  and  as  a  representa- 
tive of  a  dying  race." 

"The  Court  of  Palms"  captured  us  both,  by  its  shape, 
by  the  splendor  of  the  Ionic  columns,  by  the  loveliness  of 
its  detail,  by  its  coloring  and  by  that  charm  of  its  sunken 
garden.  "You  can  feel  here  the  mind  that  developed  those 
four  Italian  towers.  It  shows  the  same  balanced  judg- 
ment, and  skill  and  taste.  The  two  towers  here,  though 
they  stand  at  either  end  of  the  court,  and  make  a  beautiful 
ornamentation,  are  really  a  part  of  the  wall.  They  help  to 
give  it  dignity  and  variety.  And  how  artistically  the  palms 
have  been  used  here.  They  can  be  among  the  least  grace- 
ful of  plants;  but  here  they  are  really  decorative.  And 

178] 


THE  HALF   COURTS 

those  laurel  trees  at  the  side  of  the  main  doorway  make 
fine  ornamental  notes.  The  sculptured  vases,  too,  are  won- 
derfully graceful." 

Above  the  doorways  we  found  the  three  murals  that 
gave  further  distinction  to  this  court  and  enriched  the  col- 
oring. In  "Fruits  and  Flowers"  Childe  Hassam  had  done 
one  of  his  purely  decorative  pictures,  without  a  story,  con- 
tenting himself  with  graceful  pictures  and  delicate  color 
scheme.  Charles  Holloway  made  "The  Pursuit  of  Pleas- 
ure" frankly  allegorical,  the  floating  figure  of  the  woman 
pursued  by  admiring  youths.  Over  the  main  doorway 
Arthur  Mathews  had  also  painted  an  allegory,  "Victorious 
Spirit,"  the  Angel  of  Light,  with  wide-spread  wings  of 
gold,  standing  in  the  center  and  keeping  back  the  spirit 
of  materialism,  represented  by  a  fiery  horse  driven  by  his 
rider  with  brutal  energy.  "Observe  how  successfully 
Mathews  has  chosen  his  colors.  These  deep  purples 
help  to  bring  out  the  splendor  of  those  golden  tones. 
This  canvas  is  unquestionably  one  of  the  best  of  all  the 
murals.  It  shows  that  in  Mathews  San  Francisco  has  a 
man  of  remarkable  talent,  one  of  the  great  mural  painters 
of  the  country." 

On  the  way  to  the  second  half-court  we  had  a  chance 
to  see  the  South  Wall  at  close  range,  with  its  rich  orna- 
mented doorways,  its  little  niches  and  fountains  devised 
to  make  it  varied  and  gay.  Those  little  elephant  heads 
were  another  sign  of  Faville's  careful  attention  to  or- 
namental detail.  And  the  coloring  gave  warmth  to  the 
background,  contrasting  with  the  deep  green  of  the 
planting. 

At  the  Court  of  Flowers  we  met  Solon  Borglum's 
"Pioneer,"  too  old  to  be  typical,  different  from  the  man 
in  lusty  middle  age  or  in  youth  who  came  to  California 
in  the  early  days.  But  it  justified  itself  by  suggesting 
perhaps  the  greatest  of  the  pioneers  in  old  age,  one  who 
had  grown  with  the  community,  the  poet,  Joaquin  Miller. 
"It's  Miller  sure  enough,"  said  the  architect,  "even  if 

\79] 


THE  CITY  OF  DOMES 

the  likeness  isn't  close.  But  why  those  military  trappings 
on  the  horse?  Like  the  rest  of  the  pioneers,  Joaquin  was 
a  man  of  peace." 

The  Court  of  Flowers  we  thought  well  named,  both 
for  its  planting,  McLaren  at  his  best,  and  for  its  Italian 
Renaissance  decoration,  with  that  pretty  pergola  opening 
out  on  the  scene,  Calder's  Oriental  "Flower  Girl"  decorat- 
ing the  spaces  between  the  arches.  And  those  lions  by 
Albert  Laessle  were  a  fine  decorative  feature.  The  foun- 
tain, "Beauty  and  the  Beast,"  by  Edgar  Walter,  of  San 
Francisco,  was  one  of  the  most  original  and  decorative 
pieces  of  sculpture  we  had  seen.  The  figure  of  the  girl 
standing  on  the  coils  of  the  beast  was  remarkably  well 
done  and  the  water  flowing  over  the  bowl,  with  the  pipes 
of  Pan  glimpsed  underneath,  made  a  charming  picture. 
There  was  a  whimsical  and  a  peculiarly  French  suggestion 
in  the  use  of  the  decorative  hat  and  sandals  on  the  nude 
figure.  In  detail  those  two  towers  at  the  end  were  slightly 
diflferent  from  the  other  two.  Like  the  others  they  served 
as  a  decoration  of  the  wall,  breaking  the  long  lines." 


[80] 


XIII 
NEAR  FESTIVAL  HALL 

T  CLOSE  view  we  found  the  Festival  Hall 
more  interesting  than  it  had  seemed  at  a 
distance.  It  unquestionably  had  something 
of  the  elegance  associated  with  the  best 
French  architecture.  But,  unUke  most  of 
the  buildings  here,  it  did  not  develop  out 
of  a  central  idea.  Much  of  its  ornamentation  seemed  put 
on  from  the  outside. 

Of  all  the  domes  this  dome  impressed  us  as  being  the 
least  interesting.  It  did  not  even  justify  itself  as  being 
a  means  of  giving  abundant  light.  "This  kind  of  archi- 
tecture doesn't  really  belong  in  this  country;  but  it  seems 
to  be  making  its  way.  Observe  the  waste  of  space  involved. 
However,  the  curving  arches  on  either  side  are  rather 
charming.  And  the  architect  has  succeeded  in  putting 
into  the  whole  structure  a  certain  amount  of  sentiment. 
In  fact,  throughout  the  whole  Exposition  you  feel  that 
the  architects  haven't  worked  merely  for  money  or  for 
glory.  They  have  appreciated  the  chance  of  doing  some- 
thing out  of  the  commonplace." 

The  sculpture  by  Sherry  Fry  was  evidently  executed 
with  the  idea  of  festivity  in  mind,  the  "Bacchus"  and 
"The  Reclining  Woman"  and  two  "Floras"  decorated 
with  flowers,  and  "Little  Pan,"  and  "The  Torch-bearer" 
reproduced  above  each  of  the  smaller  domes.  But,  some- 
how, those  figures  did  not  quite  indicate  the  real  character 
of  the  building,  intended  for  concerts  and  lectures  and 
conventions,  rather  serious  business.  The  coloring,  too, 
of  the  statues,  was  disappointing,  the  dull  brown  being 
out  of  key  with  the  light  green  of  the  domes. 

"In  the  smaller  concert  room  upstairs.  Recital  Hall," 
said  the  architect,  "there  is  some  very  fine  stained  glass ; 
two  windows,  and  on  the  landing  of  the  north  stairway 
there's  a  third  window,  all  done  by  the  man  who  has  been 
called  the  Burne-Jones  of  America,  Charles  J.  Connick,  of 
Boston.   Instead  of  being  hidden  away  there,  they  ought 

[8il 


THE  CITY  OF  DOMES 

to  have  been  put  in  the  Fine  Arts  Building.  They  repre- 
sent something  new  in  the  way  of  stained  glass,  and  they 
have  a  wonderful  depth  and  brilliancy." 

As  we  drew  near  the  Avenue  of  Progress  we  saw  the 
magnificent  doorway  of  the  Varied  Industries,  overladen 
with  ornamentation.  "It  was  clever  of  Faville  to  put  that 
doorway  just  in  this  spot  where  it  would  be  seen  by  the 
crowds  that  entered  by  Fillmore  Street.  It  comes  from 
the  Santa  Cruz  Hospital,  in  Toledo,  Spain,  built  by 
the  Spanish  architect,  De  Egas,  for  Cardinal  Mendoza, 
one  of  the  most  famous  portals  in  Europe.  The  adaptation 
has  been  wonderfully  done  by  Ralph  Stackpole,  with 
those  figures  of  the  American  workman  carrying  a  pick 
at  either  side  and  the  semicircular  panel  just  above  the 
door  and  the  group  on  top.  That  panel  is  one  of  the 
finest  pieces  of  sculpture  in  the  Exposition.  It  has  tender- 
ness and  reverence.  It's  the  kind  of  thing  the  mediaeval 
sculptors  who  worked  on  religious  themes  would  have 
been  enthusiastic  over.  See  how  simple  it  is,  just  a  group 
of  workers,,  with  the  emblems  of  their  work,  the  women 
spinning  with  the  lamb  close  by,  the  artist  and  the  artisan, 
and  the  woman  with  the  design  of  a  vessel's  prow  in  her 
hands,  suggesting  commerce.  The  single  figure  in  the 
center  is  the  intelligent  workman  who  works  with  his 
hands  and  knows  how  to  work,  too.  The  group  on  top 
is  a  very  pretty  conception,  the  Old  World  Handing  Its 
Burden  to  the  Younger  World,  with  its  suggestions  of  the 
European  people  coming  over  here  and  raising  American 
children." 


[82] 


COLONNADE    IN    THE    COURT    OF    PALMS, 
LOOKING    TOWARD   THE    PALACE   OF    HORTI- 
CULTURE.    THE    COLUMNS  ARE   ROMAN 
IONIC.     THE    PILASTERS   AGAINST   THE 
WALL,    THE    ROMAN    LAMPS,    AND    THE 
ACACIAS    TRIMMF.D    IN    ROUNDED    FORM, 
MAKE  AN    IMPRESSIVE  VISTA  TO  THE  ARCHED 
PORTAL. 


XIV 
THE  PALACE  OF  MACHINERY 

N  REACHING  the  Avenue  of  Progress  we 
found  ourselves  at  the  gayest  corner  of  the 
Exposition,  with  two  fine  vistas  of  the  two 
avenues.  To  our  right  stood  the  massive 
Palace  of  Machinery,  one  of  the  largest 
buildings  in  the  world,  so  successfully 
treated  by  the  architect  that  it  did  not  give  the  faintest 
suggestion  of  being  cumbersome  or  monotonous.  "It's 
the  Baths  of  Caracalla  in  Rome,"  said  the  architect, 
"adapted  by  a  master.  Those  three  gables  above  the 
main  entrance  are  taken  directly  from  the  baths.  See 
how  simple  the  ornamentation  is  and  yet  how  satisfying. 
The  building  as  a  whole  is  a  perfect  example  of  old 
Roman  architecture,  feeling  its  way  toward  the  big  archi- 
tectural principles  that  are  in  vogue  today,  among  others 
the  economical  principle  involved  in  the  counteracting  of 
thrusts.  If  the  Roman  Emperor  who  was  nicknamed 
Caracalla  on  account  of  the  hooded  military  tunic  that 
he  made  fashionable  in  his  day  hadn't  built  those  baths 
we  should  probably  not  have  the  glorious  Pennsylvania 
station  in  New  York,  that  some  of  the  architectural  au- 
thorities consider  the  most  important  building  of  its  kind 
built  in  this  country.  Although  the  work  here  is  all  con- 
crete, Clarence  Ward,  the  architect,  says  that  with  care, 
it  could  last  hundreds  of  years." 

Now  we  were  struck  by  those  vigorous-looking  figures, 
by  Haig  Patigian,  that  stood  on  top  of  the  Sienna  col- 
umns all  evidently  designed  to  express  the  power  of  ma- 
chinery. At  the  entrance  the  reliefs  of  the  columns  were 
in  the  same  spirit  and,  as  one  might  have  surmised,  by  the 
same  sculptor  working  out  the  meaning  of  the  buildings  in 
designs  that  kept  the  contour  of  the  columns,  strong  and 
well-modeled. 

"There's  distinctive  character  in  this  building,"  said 
the  architect.  "It  actually  conveys  the  sense  of  tremendous 

[83  1 


THE  CITY  OF  DOMES 

energy,  and  by  the  simplest  means.  And  inside,  Ward 
has  done  something  new  and  interesting." 

When  we  entered  we  found  the  supports  of  the  roof 
left  bare.  Instead  of  being  unsightly,  they  had  a  kind 
of  beauty  and  impressiveness.  "Observe  the  magnificence 
of  the  spaces  here  on  the  floor  and  up  to  the  ceiling. 
Some  one  asked  Ward  if  all  this  height  were  necessary. 
He  said  it  wasn't;  but  he  wanted  it  for  pictorial  effect, 
to  carry  out  the  feeling  of  massiveness  and  splendor." 

In  the  great  figures  that  stood  on  the  columns  in  front 
of  the  Palace  of  Machinery  the  architect  found  a  theme 
for  a  discourse  on  the  human  figure  as  the  chief  inspira- 
tion of  art.  "It  is  possible  that  we  shall  change  our  minds 
on  that  subject,"  he  remarked.  "Already  the  world  is 
showing  a  tendency  to  get  away  from  the  worship  of  the 
body.  Ever  since  the  Christian  era,  of  course,  the  physical 
has  been  deprecated.  We  may  come  to  see  that  the  body 
is  useful  as  it  develops  and  serves  the  spiritual,  that  is, 
as  it  subordinates  itself.  The  marvel  is  that  the  pagan  tra- 
dition has  persisted  so  long  in  spite  of  the  Christian  influ- 
ence. This  Exposition  shows  how  strong  it  remains." 

"But  what  would  you  have  in  place  of  the  human 
figure  as  the  inspiration  of  art?"  I  asked. 

"Oh,  there  are  plenty  of  things  that  might  take  its 
place.  Flower  themes  are  just  as  beautiful  in  decoration 
as  the  shapes  of  men  and  women.  I  can  conceive  of  the 
time  when  it  will  be  considered  uninteresting  and  com- 
monplace to  have  human  bodies  used  as  a  means  of 
aesthetic  display.  The  self-glorification  in  it  alone  be- 
comes wearying.  We  are  gradually  learning  that  the  best 
we  can  do  in  life  is  to  forget  about  ourselves  and  our 
old  bodies.  There  are  even  those  who  go  so  far  as  to 
look  forward  to  the  time  when  we  shall  escape  from  our 
bodies  altogether.  It  would  be  interesting,  by  the  way,  to 
get  the  point  of  view  of  a  very  spiritual  Christian  Scient- 
ist on  the  display  here.  I  suppose  that  it  would  see  good 
in  the  tendency  to  reach  finer  and  nobler  conceptions  of 
art  according  to  our  present  understanding." 

[84] 


THE  PALACE  OF  MACHINERY 

Then  the  architect  proceeded  to  discuss  the  artistic  su- 
periority of  the  Japanese.  Though  they  used  the  human 
figure  in  their  art,  they  did  not  play  it  up,  after  the  habit 
of  the  Western  world.  They  did  not  make  it  seem  to  be  of 
supreme  importance.  They  conventionalized  and  subordi- 
nated it  to  outline  and  color.  The  use  of  the  nude  they 
never  cultivated.  Their  attitude  toward  the  body  was 
characterized  by  discretion  and  modesty,  qualities  that 
they  showed  in  their  dress.  You  would  never  see  a  Japan- 
ese woman,  for  example,  wearing  a  dress  that  conspicu- 
ously brought  out  the  lines  of  her  figure. 

"On  the  other  hand,"  the  architect  went  on,  "there's 
no  doubt  we've  become  absurdly  prudish  in  this  country. 
We're  afflicted  with  shame  of  the  body  which,  in  itself, 
is  unhealthy.  If  art  can  help  us  to  get  back  to  a  more 
normal  attitude  it  will  do  a  big  service.  All  the  more 
reason  then  why  it  should  keep  within  reasonable 
bounds." 


[8sl 


XV 
THE  COURT  OF  THE  AGES 

S  WE  turned  from  the  Avenue  of  Prog- 
ress toward  the  Court  of  the  Ages  the 
architect  said:  "The  workmen  about  here 
call  this  inner  court  'Pink  Alley,'  not  a 
bad  name  for  it,  though  its  real  name  is 
the  Court  of  Mines.  Throughout  the  Ex- 
position Guerin  shows  that  he  is  very  fond  of  pink, 
probably  on  account  of  its  warmth.  He  has  been  criti- 
cised for  using  it  so  much  on  the  imitation  Travertine 
for  the  reason  that  there  is  no  stone  of  exactly  this 
color.  And  yet  there  is  pink  marble.  But  even  if  there 
weren't  any  pink  stone  in  the  world,  Guerin  would  be 
justified  in  his  use  of  the  color  for  purely  decorative  pur- 
poses, just  as  he  was  justified  in  using  it  on  his  four 
towers." 

Inside  the  Court  of  the  Ages  the  architect  drew  a  long 
breath. 

"In  this  court  we  architects  feel  puzzled.  We  think 
we  can  read  new  architectural  forms  like  a  book,  and 
find  that  they  are  saying  things  repeated  down  the  ages. 
But  we  can't  read  rnuch  here.  In  that  lovely  round  arch 
there  are  hints  of  Gothic,  and  yet  it  is  not  a  Gothic  arch. 
Throughout  the  treatment  there  are  echoes  of  the  Span- 
ish, and  yet  the  treatment  is  not  Spanish.  The  more  one 
studies  the  conception  and  the  workmanship  the  more 
striking  it  grows  in  originality  and  daring.  Mullgardt 
has  succeeded  in  putting  into  architecture  the  spirit  that 
inspired  Langdon  Smith's  poem  'Evolution,'  beginning 
'When  you  were  a  tadpole  and  I  was  a  fish.'  In  the  chaotic 
feeling  that  the  court  gives  there  is  a  subtle  suggestive- 
ness.  The  whole  evolution  of  man  is  intimated  here  from 
the  time  when  he  lived  among  the  seaweed  and  the  fish 
and  the  lobsters  and  the  turtles  and  the  crabs.  Even  the 
straight  vertical  lines  used  in  the  design  suggest  the  drip- 
ping of  water.  When  you  study  the  meaning  of  the  con- 
ception you  find  an  excuse  for  Aitken  in  flinging  his 

[86] 


THE  COURT  OF  THE  AGES 

mighty  fountain  into  the  center  of  all  this  architectural 
iridescence.  He  caught  the  philosophy  of  Mullgardt  with- 
out catching  the  lightness  and  gaiety  of  the  execution. 
In  that  fountain  he  has  brought  out  the  pagan  conception 
of  the  sun,  and  he  has  used  the  notion  that  the  sun  threw 
off  the  earth  in  a  molten  mass  to  steam  and  cool  down 
here  and  to  bring  forth  those  competitions  between  hu- 
man beings  that  reveal  the  working  of  the  elemental 
passions.  Aitken  is  material  and  hard,  where  Mullgardt 
is  delicate  and  fine.  How  subtly  Mullgardt  has  inter- 
woven the  feeling  of  spirituality  with  all  the  animal 
forces  in  man.  That  tower  alone  is  a  masterpiece.  I  know 
of  no  tower  just  like  it  in  the  world.  From  every  side  it 
is  interesting.  And  at  night  it  is  particularly  impressive 
from  the  Marina." 

The  architect  went  on  to  explain  something  of  the 
court's  history.  "When  Mullgardt  started  to  work  out 
his  plans  he  must  have  had  in  mind  the  transitional 
character  of  an  exposition.  He  knew  that  he  could  afford 
to  try  an  experiment  that  might  have  been  impracticable 
if  the  court  had  been  intended  for  permanency.  He  evi- 
dently was  determined  to  cast  tradition  to  the  winds  and 
to  strike  out  for  himself." 

"I  should  think  most  architects  would  like  to  work 
in  that  way." 

"The  usual  process  is  very  different.  As  soon  as  an 
architect  decides  to  design  a  building  he  first  chooses  a 
certain  type  of  architecture;  then  he  saturates  his  mind 
with  designs  that  have  already  been  done  along  that 
line.  Out  of  the  mass  of  suggestions  that  he  receives  he 
is  lucky  if  he  evolves  something  more  or  less  new.  Often 
he  merely  re-echoes  or  he  actually  reproduces  something 
that  he  is  fond  of  or  that  has  happened  to  catch  his 
fancy.  The  chances  are  that  Mullgardt  will  go  down  into 
history  for  his  daring  here.  It  isn't  often  that  a  man 
takes  a  big  biological  conception  and  works  it  out  in 
architecture  with  such  picturesqueness.  It's  never  intru- 
sive and  yet  it's  there,  plain  enough  for  anyone  to  see 

[871 


THE  CITY  OF  DOMES 

who  looks  close.  It  represented  a  magnificent  oppor- 
tunity and  MuUgardt  was  big  enough  to  get  away 
with  it." 

Then  the  architect  told  me  the  human  story  behind 
all  this  beauty  as  we  wandered  back  into  the  center  of 
the  court  and  stood  there.  "Notice  the  incline,"  he  said, 
"from  the  entrances?  It  reminds  me  that  Mullgardt  had 
originally  intended  to  have  the  floor  of  the  court  like 
a  sunken  garden.  And  remember  that  the  name  expresses 
the  original  idea.  The  Court  of  Abundance,  that  it  is 
wrongly  called,  would  have  applied  much  better  to  the 
Court  of  Four  Seasons.  Well,  after  the  notion  came  to 
Mullgardt  to  suggest  in  the  court  the  development  of 
man  from  the  life  of  the  sea  to  his  present  state  as 
a  thinking  being,  less  physical  than  spiritual,  he  planned 
to  build  a  court  that  should  be  the  center  of  the 
pageants  for  the  Exposition,  where  art  should  have  its 
living  representation  in  the  form  of  processions  and  of 
plays,  some  of  them  written  for  the  purpose.  In  the 
sunken  garden  there  should  be  plenty  of  room  for  the 
actors  to  move  about,  using  it  as  a  stage.  There  should 
also  be  room  for  the  sculptured  caldron  that  was  to  be 
an  architectural  feature  and  that  later  developed  into 
Aitken's  massive  evolutionary  fountain.  For  the  base  of 
the  tower  there  was  designed  a  gorgeous  semi-circular 
staircase,  which  was  to  serve  as  an  entrance  for  the 
actors.  Around  the  court  there  was  to  run  an  orna- 
mental balcony,  covered  with  a  great  canopy  in  red  and 
gold,  making  an  eflFect  of  Oriental  magnificence.  The 
people  were  to  watch  the  spectacles  from  the  balcony  and 
from  between  the  arches.  In  addition  to  the  main  tower, 
very  like  the  present  tower,  but  to  contain  a  great  pipe 
organ,  there  were  to  be  two  others,  in  the  corner  at  right 
angles,  to  be  called  echo  towers.  The  music  of  the  organ 
was  to  be  transmitted  to  the  echo  towers  by  wires  and  the 
echoes  were  to  serve  as  a  sort  of  accompaniment.  The 
effect,  if  it  had  been  managed  right,  would  have  been 
stunning." 

[881 


ONE   OF   THE   ENTRANCES   TO  THE    PALACE  OK 
HORTICULTURE,  THE  LATTICE  WORK   IN   THE 
SHAPE  OF  A   DOME,   THE  WHOLE  BUILDING 
CONSISTING  OF  DOMES.     THE  RICH   ORNAMEN- 
TATION AND  THE  FIGURES  OF  WOMEN   USED 
AS   COLUMNS,    THE   CARYATIDES,   ARE  BY   JOHN 
BATEMAN.     THE  DETAILS  CARRY  OUT  THE 
MEANING   OF   THE  BUILDING:   THE  GLASS 
DOME,   THE  BASKET  ON   TOP  OF  THE  MAIN 
DOME,  THE  LATTICE  WORK,  THE  SCULPTURED 
VASES,   THE   PLANTS  AND  THE   FLOWERS. 


THE  COURT  OF  THE  AGES 

"MuUgardt  has  kept  the  spirit  of  the  pageant  in  his 
court,"  I  said.  "J^^t  as  it  is  it  would  make  an  ideal  set- 
ting, particularly  for  pageant  with  music,  opera,  for 
example."  % 

"Of  course,"  said  the  architect."  "But  the  music  ought 
not  to  come  as  it  does  now,  from  a  band.  It  ought  to 
come  from  the  orchestra.  Violins  belong  there.  But  brass 
— never !" 

"Well,  what  happened  to  the  pageant  scheme?" 

"Oh,  when  Mullgardt  showed  the  preliminary  sketches 
it  was  ruled  out  as  too  expensive.  Then  he  removed  the 
balcony  and  the  staircase  and,  in  place  of  the  staircase, 
he  introduced  a  cascade,  keeping  the  rest  of  the  court 
as  it  had  been  before.  His  idea  was  to  use  the  water  in 
the  cascade  only  in  a  suggestive  way.  It  was  to  be  almost 
completely  hidden  by  vines,  after  the  manner  of  Shasta 
Falls,  and  to  symbolize  the  mysterious  appearance  and 
disappearance  of  water  that  came  from — one  didn't  know 
where.  But  that  scheme  was  rejected,  too,  as  too  ex- 
pensive. However,  Mullgardt  accepted  the  situation.  He 
was  so  interested  that  he  worked  out  himself  many  of' 
the  details  that  most  architects  would  have  left  to  sub- 
ordinates. He  really  cared  enough  to  make  the  whole 
effect  as  close  to  perfection  as  he  could.  Everything  he 
did  he  has  a  reason  for  doing.  Not  one  thing  here  did 
he  use  gratuitously.  He  evidently  doesn't  agree  with  the 
idea  that,  in  architecture,  beauty  is  its  own  excuse  for 
being ;  he  wants  to  make  it  useful,  too." 

Then  I  was  initiated  into  the  details  of  the  workman- 
ship. "Observe  how  the  ideas  in  the  structure  of  the 
walls  of  the  court  are  carried  on  in  the  ornamental  de- 
tails and  in  the  tower."  The  primitive  man  and  primitive 
woman  repeated  in  a  row  along  the  upper  edge  had  been 
finely  conceived  and  executed  by  Albert  Weinert.  And 
the  nobility  of  outline  in  the  tower  was  sustained  by  the 
three  pieces  of  sculpture  in  front  made  by  Chester  Beach. 
That  top  figure  some  people  believed  to  be  Buddhistic  in 
feeling.   But   it   belonged   to   no   particular   religion.   It 

[891 


THE  CITY  OF  DOMES 

Stood  for  the  Spirit  of  Intelligence.  The  ornamentation 
on  the  head  was  not  an  aureole,  as  had  been  reported, 
but  a  wreath  of  laurel,  symbolic  of  success.  The  group 
beneath  was  mediaeval,  depicting  mankind  struggling  for 
the  light,  expressed  in  the  torches,  through  those  con- 
flicts that  so  pitifully  came  out  of  the  aspirations  of  the 
soul,  expressed  in  religion.  The  lowest  group  showed 
humanity  in  its  elemental  condition,  related  to  the  animal, 
close  to  the  beasts.  So,  to  be  followed  in  sequence,  the 
groups  ought  to  be  studied  from  the  lowest  to  the  high- 
est, and  then  the  eyes  should  be  able  to  catch  the  meaning 
of  the  lovely  ornamentation,  crowning  the  tower,  the 
petals  of  the  lily,  emblem  of  spirituality,  the  arrow-like 
spires  above  expressing  the  aspirations  of  the  soul. 

On  the  sides  of  the  tower  the  symbolism  was  consist- 
ently maintained,  war  and  religion  marking  the  progress 
of  man  toward  the  state  indicated  by  the  single  figure  of 
The  Thinker, 

"And,  speaking  of  the  soul,"  the  architect  went  on, 
"observe  these  great  clusters  of  lights  that  illuminate  this 
court  and  the  approach  on  the  other  side  of  the  tower. 
They  look  like  stars,  don't  they?  And  the  intention  evi- 
dently is  to  use  them  for  their  star-like  character.  But 
there  is  history  behind  them.  They  are  like  the  mon- 
strance used  in  the  Catholic  Church,  to  hold  the  sacred 
host,  the  wafer  that  is  accepted  by  the  faithful  as  the 
body  and  blood  of  Jesus  Christ.  Since  the  sixteenth  cen- 
tury it  has  been  used  by  the  church,  a  beautiful  emblem, 
made  of  gold  and  designed  to  suggest  the  prayer  of  the 
sun,  the  Spirit  of  God  in  radiance.  Its  use  here  helps  to 
give  the  court  its  ecclesiastical  character." 

As  we  made  our  way  toward  the  Marina  we  noted  how 
much  the  court  gained  by  its  general  freedom  from  color. 
In  the  colonnade,  to  be  sure,  Guerin  had  been  particularly 
successful  with  the  shade  of  blue.  But  he  would  have 
done  better  if  he  had  omitted  the  color,  in  fact  all  color, 
from  the  niches  in  the  tower. 

[90] 


NIGHT  VIEW   OF  THE  PALACE  OF  HORTICUL- 
TURE,   WITH    ARTHUR    PUTNAM's    "MER- 
MAID  FOUNTAIN."     THE    MOTIVE    IN   THE 
GREAT    DOME    OP   CLASS    IS    MANY    TIMES 
REPEATED   IN    SMALLER  DOMES  OF  GLASS  AND 
LATTICE   WORK.     THE  ARCHITECTURE,    RICH 
IN    ORNAMENTATION,    IS    FRENCH,    THOUGH 
THE    DOME    COMES    FROM    THE    MOSQUE   OF 
AHMED,    THE    FIRST,    IN    CONSTANTINOPLE, 


THE  COURT  OF  THE  AGES 

Viewed  from  the  Marina,  the  entrance  to  the  court 
proved  to  be  a  vision  of  loveliness.  There  was  only  one 
intrusive  note  to  jar  the  harmony,  the  coarse  sea  figure 
by  Sherry  Fry,  presumably  Neptune's  Daughter,  stand- 
ing in  the  center,  with  a  great  fish  at  her  feet,  plainly  out 
of  place  here,  in  spite  of  the  court's  celebration  of  the 
sea  as  the  source  of  human  life. 


[91] 


XVI 
THE  BRANGWYNS 


E  LINGERED  in  the  colonnade  to  view 
the  eight  mural  decorations  by  Frank 
Brangwyn,  of  London.  In  front  of  The 
Bowmen  we  found  a  friend,  a  gifted 
woman  painter,  fairly  bursting  with  en- 
thusiasm. "What  delights  me  in  Brang- 
wyn," she  said,  "is  his  artistic  courage.  He  dares  to  put 
down  just  what  he  feels.  This  sturdy  figure  in  the  fore- 
ground, for  example,  peering  through  the  trees,  how 
many  other  painters  would  have  allowed  him  to  turn  his 
back  on  the  spectator  ?  And  yet  how  interesting  he  is  and 
how  alive." 

"Some  of  those  heads  strike  me  as  curious,"  I  re- 
marked. "That  fellow  closest  to  the  center,  just  about  to 
let  his  arrow  fly,  seems  to  have  no  head  to  speak  of." 

"Sometimes  he's  careless  with  his  drawing.  And  yet 
he  can  draw  magnificently,  too.  He  evidently  had  a  pur- 
pose in  making  so  many  of  the  heads  in  these  murals 
almost  deformed.  He  wanted  to  suggest  that  these  types 
were  in  no  way  mental.  They  were  wholly  physical.  No- 
tice the  care  he  has  lavished  on  their  muscular  bodies, 
their  great  shoulders  and  legs." 

"It  doesn't  seem  like  English  work,  does  it?"  said  the 
architect. 

"No,  there's  something  almost  Oriental  about  it  both 
in  the  feeling  and  the  coloring.  And  there's  the  Pagan 
love  of  the  elemental  life." 

"But  what  a  chance  Brangwyn  had  to  do  something 
new  with  this  magnificent  subject,"  the  architect  went  on. 
"At  last,  after  centuries  of  effort,  men  are  actually  con- 
quering the  air.  They've  learned  to  fly.  They've  become 
birds.  Now  why  didn't  Brangwyn  give  us  a  pictorial 
expression  of  that  miracle  ?  Why  didn't  the  artist  have  as 
much  sense  as  the  man  of  affairs  who  pays  Art  Smith  to 
come  out  here  and  fly  before  the  multitude?" 

[92] 


THE  BRANGWYNS 

I  argued  that  Brangwyn  preferred  to  deal  with  antique 
themes — they  were  so  much  more  pictorial. 

The  architect  interrupted  with  some  impatience.  "But 
that's  exactly  what  they're  not.  In  my  opinion  Whistler 
was  perfectly  right  when  he  said  that  if  a  mural  decorator 
couldn't  make  modern  life  pictorial  he  didn't  know  his 
business.  Flying  through  the  air  is  only  one  of  many 
wonders  in  the  life  of  today  that  cry  out  for  expression 
in  art ;  but  you  scarcely  catch  a  note  of  them  here." 

"For  example?"  said  the  painter. 

"Industry — our  great  machines,  the  new  power  they 
bring  into  the  world,  the  change  in  industrial  relations 
and  social  and  moral  ideals.  Now  in  these  murals,  Brang- 
wyn has  simply  repeated  himself  and  he  hasn't  by  any 
means  done  his  best  work.  And  I  question  whether  his 
observation  is  so  accurate  as  you  admirers  of  his  try  to 
make  it  appear.  Look  at  the  way  those  fellows  are  hold- 
ing their  bows — with  the  left  hand,  presumably  for  the 
pictorial  effect  of  the  composition.  Well,  let  that  point 
pass.  One  fellow  has  shot  his  arrow.  The  other  is  hold- 
ing his  arrow  between  the  fore  finger  and  the  middle 
finger.  Well,  it  won't  go  very  far.  The  Indians  know 
better.  They  let  the  arrow  rest  on  the  thumb  to  give  it 
plenty  of  freedom  to  fly.  One  of  those  bows,  by  the 
way,  has  no  string.  Brangwyn  probably  thought  it 
wouldn't  be  missed." 

As  we  looked  at  the  other  panels  the  architect  conceded 
that  the  points  the  painter  raised  for  Brangwyn,  the  bril- 
liant use  of  color,  the  dramatic  grouping  and  the  fineness 
of  characterization,  were  true  enough.  "But  he's  too 
monotonous.  Though  his  groups  are  of  different  periods, 
some  of  them  ages  apart,  they're  all  essentially  alike  and 
the  figures  are  even  dressed  alike.  I'm  perfectly  willing 
to  make  allowance  for  artistic  convention.  But  why 
should  an  artist  limit  himself  unnecessarily  when  he  has 
all  the  ages  to  draw  on?  Why  should  he  neglect  the 
present,  the  greatest  of  all  the  ages?" 


[931 


THE  CITY  OF  DOMES 

"Ah,  I'm  afraid  you're  too  literal,"  said  the  painter. 
"You  want  to  limit  a  genius  to  rules." 

We  turned  from  The  Bowmen  to  study  in  detail  the 
second  illustration  of  Air,  much  more  modern  and  yet 
charmingly  old-fashioned,  the  windmill  and  the  little  mill 
high  in  the  background,  the  group  of  naked  boys  flying 
kites,  the  toilers  and  their  children,  going  home  as  fast 
as  they  could,  fighting  the  wind,  their  picturesque  dra- 
peries flying  around  them. 

The  architect  was  impressed.  "He's  caught  the  feel- 
ing of  the  thunderstorm,  hasn't  he  ?"  he  said. 

"And  he's  brought  out  all  the  picturesqueness  and  the 
color  and  the  majesty  and  even  the  humor,"  said  the 
painter.  "See  how  wonderfully  he  has  composed  the  pic- 
ture, what  pictorial  use  he  has  made  of  every  detail.  The 
background  of  the  clouds  and  the  rain,  the  dark  blues 
and  the  green  and  the  pink ;  and  the  kites  catching  some 
of  the  color,  and  the  lovely  color  of  the  mill  and  of  the 
grass  dried  by  the  sun.  And  see  that  figure  up  there  on 
the  steps,  all  windblown  and  rushing  under  cover.  It's 
all  beautiful  and  yet  there's  not  one  face  or  figure  there 
that  would  be  considered  beautiful  by  the  painter  who 
works  for  prettiness.  He  has  no  interest  whatever  in 
what  the  average  mural  decorator  considers  beautiful. 
And  yet  he  sees  beauty  everywhere  and  he  makes  it  felt. 
How  pictorially  he  has  used  those  purple  flowers  in  the 
foreground  at  the  base  of  the  composition.  And  observe 
their  relation  to  the  purple  clouds  on  top.  And  then  what 
character  he  has  put  into  those  active  figures,  particu- 
larly in  this  queer  little  boy,  naked  except  for  the  purple 
drapery  flying  from  his  waist.  He  has  caught  something 
of  the  fantastic  spirit  that  you  often  see  in  children." 

In  nearing  the  two  panels  illustrating  Water  we  had 
a  chance  to  see  how  dexterously  Brangwyn  could  manage 
his  design  without  perspective,  which  would  have  made 
a  hole  in  the  wall.  Those  women  with  jars  on  their 
heads  stood  against  a  sky  none  the  less  lovely  because 
it  was  flat.  It  was  exquisite  in  its  varieties  of  blue  and 

[94] 


FESTIVAL    HALL,    BY    ROBERT    FARQUHAR,    OF 
LOS  ANGELES,    SEEN    FROM   ACROSS  THE   POOL, 
FACING   THE    MAIN    ENTRANCE,    WITH   THE 
SILHOUETTE    OF    ARTHUR    PUTNAM'S 

"mermaid  fountain"  in  the  center, 
the  building  is  typical  of  the  beaux 
arts  type  of  french  architecture  often 
seen  in  the  theatres  of  france, 
details  french  renaissance.    in  this 
country  the  style  is  making  its  way, 
though  it  is  not  a  natural  growth, 
the  best  feature  here  is  the  semi- 
circular colonnade  that  forms 
the  entrance. 


THE  BRANGWYNS 

white  and  green.  That  sturdy  fellow  lifting  a  heavy  jar 
was  actually  working  and  working  hard.  "And  how 
splendidly  Brangwyn  has  modeled  the  figure  with  his 
back  turned  to  us,"  the  painter  exclaimed.  "What  a 
stroke  of  genius  it  was  that  a  yellow  handkerchief  of 
just  that  shade  should  hang  from  his  neck.  And  the  fig- 
ures in  the  companion  panel  drawing  their  nets,  they  are 
putting  their  heart  and  soul  into  their  work  and  they 
are  having  a  good  time,  too.  And  this  man  here  in  the 
corner,  with  the  purple  shadows  on  his  bare  back,  lifting 
his  net,  he's  evidently  had  a  big  catch.  He's  holding  the 
net  in  a  way  that  shows  it's  heavy.  And  how  decorative 
those  men  in  the  background  are,  with  the  baskets  on 
their  heads.  Brangwyn  loves  to  use  figures  in  this  atti- 
tude. They  are  interesting  and  picturesque  and  dramatic 
at  the  same  time." 

"But  they're  too  conscious,"  the  architect  insisted,  "too 
posed." 

"Remember,  they're  not  paintings,"  the  painter  in- 
sisted. "They're  formal  decorations." 

In  the  panel  representing  the  elementary  use  of  Fire 
we  were  all  struck  by  Brangwyn's  daring  and  fine  treat- 
ment of  the  ugly.  Nearly  every  face  was  almost  gro- 
tesque. And  yet  every  face  was  appealing  for  the  simple 
reason  that  it  expressed  attractive  human  qualities.  Two, 
a  man  and  a  woman,  had  noses  ridiculously  large.  The 
group  of  men  in  the  center  of  the  background,  at  the 
base,  around  the  fire,  had  apparently  started  the  fire  by 
rubbing  sticks  together.  One  was  intently  leaning  for- 
ward, as  if  in  the  act  of  blowing.  Among  the  figures 
behind  the  group  stood  a  man  with  an  infant  in  his  arms, 
vividly  characterized  by  the  unseeing  eyes. 

That  infant  was  instantly  singled  out  by  the  painter. 

"Brangwyn  is  very  wonderful  in  his  observation  of 
children.  He  has  a  quality  that  is  almost  maternal.  Ob- 
serve the  difference  between  the  expression  in  the  face 
of  that  baby  and  the  expression  in  the  face  of  that  little 
boy  to  the  left  of  the  fire-makers.  How  intently  he  is 

[95] 


THE  CITY  OF   DOMES 

looking  on  as  he  leans  against  the  brown  jar.  He  shows 
all  the  interest  of  a  boy  just  learning  how  to  do  things." 

The  kiln  charmed  us,  too,  though  we  regretted  that  it 
did  not  explain  itself  quite  so  spontaneously  as  most  of 
the  other  panels.  "But  symbolism  ought  not  to  be  too 
obvious,  you  know,"  the  painter  argued.  "There's  a  cer- 
tain charm  in  vagueness.  It  makes  you  feel  your  way 
toward  a  work  of  art.  The  more  you  think  about  this 
panel  the  more  you  find  there.  To  me  it  suggests  the 
relation  between  fire  and  the  abundance  of  the  earth.  See 
how  cleverly,  in  each  case  of  these  two  panels,  Brangwyn 
has  used  smoke,  first  as  a  thin  line,  breaking  into  two 
lines  as  it  goes  up  and  interweaving,  and  then  as  a  great 
flowing  wreath,  dividing  the  panel  in  two  parts  without 
weakening  the  unity." 

For  composition  we  decided  that  the  two  Earth  panels 
were  among  the  most  remarkable  of  all.  With  satisfac- 
tion I  heard  Brangwyn  compared  by  the  painter  to  a 
great  stage  manager.  "When  I  look  at  these  groupings, 
I  am  reminded  of  Forbes-Robertson's  productions  of 
plays."  Now  we  could  see  how  brilliantly  the  decorator 
had  planned  in  securing,  his  effects  of  height  by  starting 
his  group  of  figures  close  to  the  top  of  the  canvas.  And 
with  what  skill  he  had  used  trees  and  vines  and  veg- 
etables and  fruits,  both  for  design  and  for  coloring.  "He 
has  always  been  mad  about  apples  and  squashes,"  said 
that  feminine  voice.  "In  nearly  every  picture  here  you 
will  find  not  one  squash  only,  but  several  squashes.  He 
loves  them  for  their  color  and  their  shape.  And  how 
wonderful  he  makes  the  color  of  the  grape.  He  suggests 
the  miracle  of  its  deep  purple." 

We  admired  the  painter's  pictorial  use  of  shadow  on 
those  powerful  and  scantily  draped  figures  and  the  ani- 
mation he  put  into  the  bodies  of  the  wine-pressers.  And 
down  there  in  a  corner  he  had  perfectly  reproduced  the 
attitude  and  facial  expression  of  the  worker  at  rest,  hold- 

[96] 


THE    PIONEER,    BY    SOLON    BORGLUM,    ON    THE 
AVENUE  OF  PALMS,   IN   FRONT  OF  THE  COURT 
OF    FLOWERS.     THE   TYPE   OF    HORSE    IS 
IDEALIZED.      THE    TRAPPINGS    ARE 
MILITARY.     THE    FIGURE    CARRYING   THE 
AXE  AND  GUN    IS  TOO  OLD  TO  BE  TYPICAL.     IT 
IS  THOUGHT  THAT   THE  SCULPTOR   HAD 
JOAQUIN    MILLER    IN     MIND. 


THE  BRANGWYNS 

ing  out  his  cup  for  a  drink.  "There's  another  of  those 
queer  and  interesting  children.  But  oh,  most  wonderful 
of  all  is  the  opposite  panel  that  ought  to  be  called  Abund- 
ance. See  that  mother,  holding  her  lusty  baby.  The  face  is 
commonplace  enough,  but  it  has  all  motherhood  in  it. 
And  the  woman  behind,  she  looks  as  if  she  might  be  a 
mother  bereft  or  one  of  those  women  cheated  out  of 
motherhood." 

The  architect,  though  he  still  had  his  reservations  on 
the  subject  of  the  Brangwyns,  conceded  that  they  were 
distinctly  architectural.  They  blended  into  the  spirit  of 
the  court. 

The  painter  at  once  supported  the  opinion.  "In  these 
colonnades  Guerin  has  done  some  of  his  finest  coloring. 
The  blue  and  the  red  are  in  absolute  harmony  with 
Brangwyn's  rich  tones.  They  must  have  been  applied  to 
fit  the  canvases.  But  the  marvel  is  that  the  murals  should 
show  up  so  magnificently.  Brangwyn  painted  them  in 
London  and  he  must  have  had  second  sight  to  divine 
just  the  right  scheme.  Do  you  realize,"  she  went  on  en- 
thusiastically, fairly  losing  herself  in  her  enjoyment,  "the 
immense  difficulties  he  had  to  contend  with?  In  the  first 
place,  see  how  huge  those  canvases  are.  Their  size  cre- 
ated all  kinds  of  problems.  To  view  them  right,  to  get  a 
line  on  the  detail,  so  to  speak,  would  have  meant,  for  the 
average  painter,  walking,  long  distances.  But,  in  his 
studio,  Brangwyn  could  not  have  taken  anything  like  ac- 
curate measurements." 

"Perhaps  he  painted  them  out  of  doors,"  the  architect 
suggested. 

"I  believe  the  explanation  is  that  he  thought  them  all 
out  and  he  saw  them  in  their  places.  From  Mr.  MuU- 
gardt  he  had  probably  received  a  complete  account,  with 
drawings,  of  just  what  the  court  was  going  to  be  like. 
Then  it  lived  before  him  and  he  made  the  murals  live. 
His  work  shows  that  he  begins  in  the  right  place,  unlike 
so  many  people  who  paint  from  outside.  He  feels  the 
qualities  of  the  people  he  is  going  to  paint.  He  really 
loves  them.  He  loves  their  surroundings.  He  must  be 

[97] 


THE  CITY  OF   DOMES 

very  elemental  in  his  nature.  They  say  he  is  a  great, 
uncouth  sort  of  a  fellow.  When  he  first  went  to  London 
he  was  very  contemptuous  of  the  work  done  by  the 
academicians.  It  must  have  seemed  to  him,  a  good  deal 
of  it,  effeminate  and  trifling.  Can't  you  see  how  those 
murals  show  that  he  is  a  man  clear  through?  They  are 
masculine  in  every  detail." 

"And  yet  they  have  a  good  deal  of  delicacy,  too,  haven't 
they?"  said  the  architect.  "See  how  atmospheric  those 
backgrounds  are.    They  actually  suggest  nature." 

"Because  they  are  unconventional  and  because  they 
are  true.  And  yet  they  are  purely  decorative.  You 
wouldn't  like  to  think  of  them  as  standing  apart  in  a 
great  frame.  When  you  go  close  you  will  see  that  the 
colors  are  laid  on  flat.  And  they  don't  shine.  For  this 
reason  they  have  great  carrying  power.  Observe  The 
Bowmen  down  there  in  the  distance.  Even  from  this 
remote  end  of  the  court  it  expresses  itself  as  lovely  in 
color  and  composition.  Let  us  walk  down  and  see  how 
it  grows  on  us  as  we  approach." 

Slowly  we  moved  along  the  colonnade,  the  figures 
seeming  to  grow  more  and  more  lifelike  as  the  painter 
indicated  their  technical  merits.  "They  are  of  the  earth, 
those  men,  aren't  they?  They  are  the  antithesis  of  the 
highly  civilized  types  used  by  so  many  of  the  painters 
today.  They  suggest  red  blood  and  strength  of  limb  and 
joy  in  the  natural  things  of  life,  eating,  drinking,  the 
open  air,  and  simple  comradeship.  They  make  us  see  the 
wonder  of  out-door  living,  the  kind  of  living  that  most 
of  us  have  missed.  What  a  pleasure  it  is  to  find  a  worker 
in  any  kind  of  work  trying  to  do  a  thing  and  actually 
doing  it  and  doing  it  with  splendid  abandon.  Now  if 
Brangwyn  hadn't  entered  into  the  feelings  of  those  bow- 
men in  the  foreground,  he  couldn't  have  made  the  figure 
live.  And  the  life,  remember,  isn't  merely  brought  out  by 
the  happy  use  of  the  flesh  tints  or  by  the  play  of  the 
muscles.  It's  in  the  animating  spirit.  As  Brangwyn 
painted  those  fellows,  he  felt  like  a  bowman.  So  he  suc- 

[98] 


THE  BRANGWYNS 

• 

ceeded  in  putting  into  his  canvas  the  strength  that  each 
bowman  put  into  his  bow.  He  isn't  pretending  to  shoot, 
that  sturdy  fellow  in  front.  He  is  shooting,  and  he's 
going  to  get  what  he  is  after." 

Before  each  of  the  four  pairs  of  murals,  the  painter 
indicated  to  us  the  happy  way  in  which,  by  the  deft  use 
of  the  coloring,  each  blended  into  the  other,  and  she  called 
my  attention  to  the  clearness  of  the  symbolism.  So  often, 
she  remarked,  the  mural  decorators  used  compositions 
that  seemed  like  efforts  to  hide  secrets,  a  childish  way  of 
working,  sure  to  defeat  itself.  Brangwyn  had  no  secrets. 
He  was  sincere  and  direct.  He  was  happy  over  this  work. 
He  said  that  he  had  enjoyed  doing  it  more  than  anything 
else  he  had  ever  done  before.  If  these  canvases  had 
been  found  in  the  heart  of  Africa  they  would  have  been 
identified  as  coming  from  Brangwyn.  No  one  else  used 
color  just  as  he  did,  with  his  kind  of  courage.  His  colors 
were  arbitrary,  too.  He  didn't  follow  nature  and  yet  he 
always  conveyed  the  spirit  of  natural  things.  Throughout 
his  work  he  showed  that  he  was  a  close  and  subtle  ob- 
server. The  sweep  of  rain  through  the  air,  the  move- 
ment of  figures  and  of  draperies  in  the  wind,  the  expres- 
sion of  human  effort,  how  wonderfully  he  managed  to 
suggest  them  all  and  to  make  them  pictorial.  But  he 
wasn't  interested  in  merely  an  activity.  He  loved  repose. 
In  nearly  all  of  these  eight  canvases,  so  brimming  with 
life,  there  were  figures  looking  on  serenely,  calmly,  con- 
veying the  impression  of  being  absolutely  at  rest. 

In  every  particular,  according  to  the  searching  ob- 
server, Brangwyn  was  successful,  with  the  exception  of 
one,  his  treatment  of  birds.  He  evidently  didn't  know 
birds.  If  he  had  known  them  he  would  have  loved  them, 
and  if  he  had  loved  them  he  would  have  entered  into  their 
spirit  and  he  would  have  flown  with  them  and  he  would 
have  made  them  fly  in  his  painting.  Now  they  merely 
flopped.  They  were  just  about  as  much  alive  as  the  clay 
figures  used  in  a  shooting  match.  Even  his  highly  decora- 

[99] 


THE  CITY  OF   DOMES 

• 

tive  flamingoes  weren't  right.  They  did  not  stand  firmly 
on  the  ground.  They  weren't  alive.  And  the  necks  of  the 
two  flamingoes  never  could  have  met  in  the  curves  that 
Brangwyn  gave  them.  This  very  failure,  amusing  as  it 
was  and  hardly  detracting  from  the  effect  of  his  work 
as  a  whole,  was  another  proof  that  he  was  an  instinctive 
painter,  who  relied  for  his  guidance  on  feeling.  But  it 
was  plain  enough  that  he  had  chosen  those  flamingoes 
for  their  color,  and  a  right  choice  it  was. 

We  could  not  decide  which  of  the  eight  murals  we 
liked  best.  Perhaps,  after  all,  they  could  not  be  consid- 
ered apart.  Though  each  was  in  itself  a  unity,  the  eight 
completely  expressed  a  big  conception.  And  in  detail  each 
canvas  was  full  of  delightful  bits.  If  you  closed  your 
hand  and  peered  between  your  thumb  and  your  fingers, 
you  could  see  how  beautifully  the  color  had  been  applied 
and  how,  throughout  the  whole  surface,  the  workman- 
ship sustained  itself.  Never  was  there  the  sense  of  fal- 
tering or  of  petering  out.  And  everywhere  there  were 
expressions  of  fine  understanding  and  sympathy,  in  the 
study  of  a  peasant  mother  holding  her  babe,  nude  boys 
flying  kites,  a  happy  face  with  the  lips  blowing  a  pipe,  a 
muscular  figure  lifting  a  jar,  all  conveying  abundant  life 
and  rich  coloring. 

The  painter  finally  ran  away  from  us,  apologizing  for 
her  enthusiasm. 

In  discussing  her  opinions,  the  architect  said:  "Well, 
I  don't  altogether  agree.  But  she  may  be  right.  She  sees 
from  the  inside,  which  is  very  different  from  seeing  from 
the  outside.  There  is  a  great  deal  of  artistic  appreciation 
that  can  be  felt  only  by  the  artist,  by  the  fellow-crafts- 
man. No  wonder  we  go  so  far  astray  when  we  criticise 
aspects  of  art  that  we're  only  related  to  indirectly  or  not 
related  at  all." 

We  walked  to  the  Marina.  From  there  we  saw  the 
sun,  a  great  red  ball,  sinking  behind  the  Golden  Gate. 


[lOO] 


*■    O  M  "^   "  3 

C  M  a  09  a 

<"  •«  >  5 

-  o  12  5 

H  !<  W  ."<  g 


XVII 
WATCHING  THE  LIGHTS  CHANGE 


HERE  probably  never  was  an  Exposition 
in  a  more  magnificent  setting,"  said  the 
architect.  "The  stretch  from  here  to  the 
Golden  Gate  makes  one  of  the  most  splen- 
did bits  of  scenery  in  the  whole  world.  It 
was  a  good  idea  on  the  part  of  the  Exposi- 
tion people  to  build  the  little  railway  here  so  that  visitors 
should  get  a  glimpse  of  all  the  beauty.  But,  ideally,  the 
view  ought  to  be  seen  from  a  height.  The  curve  from 
here  to  the  Cliff  House  makes  our  foreign  visitors  gasp. 
It  also  makes  them  wonder  why  our  boasting  over  San 
Francisco  doesn't  include  some  of  the  things  we  have  the 
best  excuse  to  boast  about." 

We  stopped  at  one  of  the  open-air  restaurants,  where 
we  could  eat  and  watch  the  fading  light  at  the  same  time. 
Then  we  went  to  the  lagoon,  which  the  architect  declared 
to  be  particularly  interesting  at  this  time  of  day. 

The  rotunda  and  the  colonnade  began  to  take  on  a 
deeper  mystery.  Across  the  surface  of  the  water  ran  a 
faint  ripple.  In  the  background,  over  the  Golden  Gate, 
the  sky  was  turning  to  flame.  Delicate,  gray  cobwebs 
seemed  to  float  in  the  air  like  veils,  dusk  and  fog  inter- 
mingled. 

The  light  grew  dim  as  we  sauntered  along  the  colon- 
nade of  the  Palace.  Through  the  columns  we  could  see 
the  Tower  of  Jewels,  suddenly  illuminated  from  inside, 
all  in  red,  obscuring  the  sculptured  figures  and  giving 
the  lines  greater  unity  and  reach. 

In  the  red  glow  the  Italian  towers  fairly  leaped  into  the 
air.  "It's  curious  how  the  light  makes  them  taller,"  said 
the  architect. 

Now  the  grounds  were  twinkling  with  a  multitude  of 
bulbs. 

Presently  the  red  light  in  the  tower  softened  into  white. 

[lOl] 


WATCHING  THE   LIGHTS   CHANGE 

Two  of  the  Italian  towers  grew  paler,  the  other  two  re- 
taining their  brilliancy.  Ryan  was  putting  on  his  colors 
like  a  painter,  one  over  another. 

We  made  our  way  back  to  the  Marina,  where  the  scin- 
tillators were  soon  to  blaze.  Before  we  arrived  they  in- 
formed us  of  their  presence  by  the  great  feathered  fan, 
of  many  colors,  that  rose  into  the  sky. 

"There  was  some  opposition  to  the  decorating  of  the 
Tower  with  jewels.  The  architects  with  conservative  ideas 
very  naturally  felt  that  architecture  which  depended  on 
its  lines  for  beauty  didn't  need  that  kind  of  ornament. 
But  Ryan  has  unquestionably  justified  himself.  The  feat- 
ure has  been  talked  about  throughout  the  country  more 
than  any  other.  See  how  the  light  falls  on  the  tower  like 
a  great  shimmering  robe.  It  gains  by  the  contrast  it 
makes  with  the  subdued  lighting  beneath." 

The  group  on  the  Column  of  Progress  stood  out 
against  the  sky. 

The  doorways  were  taking  on  the  color  of  gold,  becom- 
ing even  more  beautiful  than  they  had  been  by  day. 

"What  Ryan  tried  hardest  to  get,"  said  the  architect, 
"was  evenness  of  lighting.  He  wanted  to  bring  out  clearly 
the  details  of  the  architecture  and  he  succeeded." 


[102] 


ENTRANCE    TO    THE    VARIED    INDUSTRIES    PALACE, 
SPANISH    RENAISSANCE,   ADAPTED   FROM   THE  SANTA 
CRUZ   HOSPITAL,  OF  TOLEDO,  SPAIN,  THE  SCULPTURED 
FIGURES  BY   RALPH   STACKPOLE.     AT  EITHER  SIDE  OF 
THE   DOORWAY   STANDS  THE  AMERICAN   LABORER   IN 
DUPLICATE.     THE    GROUP    IN   THE    HALF-CIRCLE 
CELEBRATES    THE    WORKERS    IN    THE    VARIED    INDUS- 
TRIES.    THE   FIGURE   ABOVE    IS   INDUSTRY.     THE 
CROUP   IN   THE   NICHE   IS  CALLED,   "THE  OLD   WORLD 
HANDING    ITS    BURDEN    TO    THE    YOUNGER    WORLD." 
ORNAMENTAL   LIGHTING   STANDARD   BY   RYAN    AND 
DENNEVILLB. 


XVIII 

THE  ILLUMINATING  AND  THE 

REFLECTIONS 

HAT  motionless  steam  engine,  all  in  gray, 
harmonizing  with  the  Travertine,  was 
furiously  at  work.  Into  the  air  it  sent 
clouds  of  steam  that  turned  to  red  and  blue 
and  green  under  Ryan's  magic.  And  up 
there,  at  the  top  of  the  Column  of  Progress, 
we  saw  the  Adventurous  Bowman  and  his  companions  in 
two  groups,  one  reflected  on  the  illuminated  fog. 

Through  the  smoke  and  the  fog  the  bombs  were  shoot- 
ing and  breaking  into  great  masses  of  liquid  fire,  golden 
and  green  and  pink  and  yellow.  "Someone  says  we're  all 
children  at  heart,"  the  architect  remarked.  "These  fire- 
works get  more  attention  than  all  the  architecture  and  the 
art  put  together.  But,  after  all,  they're  just  about  as  beau- 
tiful as  anything  man  can  make  and,  in  the  way  of  color, 
they  put  the  artists  to  shame." 

We  were  part  of  the  crowd  that  swept  to  the  Court  of 
the  Universe,  never  so  splendid  as  at  night,  with  the  col- 
umns reflected  in  the  pool  and  Calder's  star  figures  shining 
from  the  concealed  electric  bulbs.  On  reaching  the  court 
itself  we  stood  at  the  end  of  one  of  the  corridors  and 
looked  down.  Great  drops  of  light  hung  on  the  columns 
like  molten  gold.  "Ryan  has  done  something  very  artistic 
and  unusual  there,"  the  architect  remarked.  "So  far  as  I 
know  nothing  just  like  it  has  ever  been  done  before.  It 
suggests  the  tongues  of  fire  mentioned  in  the  Scripture 
that  descended  from  Heaven." 

In  the  sunken  garden  those  two  shafts,  rising  from  the 
fountains,  looking  like  stone  by  day,  had  become  great 
candles,  glowing  from  the  base  to  the  glass  globe  on  top. 
"They're  practically  the  sole  means  of  illuminating  this 
court.    The  other  lights  are  merely  ornamental.    So  far 

[103] 


THE  CITY  OF   DOMES 

as  I'm  aware  nothing  just  like  these  shafts  has  ever  been 
tried  in  an  Exposition  or  anywhere  else.  It's  a  novel  Ex- 
positional  effect.  Some  people  don't  like  it;  but  most 
people  admire  it  immensely.  It  symbolizes  the  gold  that 
first  drew  the  multitude  to  this  part  of  the  world.  If  the 
golden  color  had  been  used  more  extensively  throughout 
the  Exposition  it  would  have  helped  a  lot.  Guerin  gets  it 
at  night  by  means  of  the  light  that  shines  through  the 
windows  and  Faville  gets  it  in  the  light  behind  those  won- 
derful doorways  of  his  that  haven't  been  praised  half  as 
much  as  they  ought  to  be." 

The  Court  of  the  Ages  lured  us  along  the  dimly  lighted 
inner  court,  the  arches  taking  on  an  even  more  delicate 
beauty  in  the  night  light.  Once  within  the  court  we  found 
ourselves  under  the  spell  of  Mullgardt's  genius.  The 
architecture,  the  cauldrons  sending  out  pink  steam,  the 
flaming  serpents,  the  torches  on  the  tower,  the  warm 
lights  from  within  the  tower,  the  great  ecclesiastical  stars, 
brilliant  with  electricity,  all  carried  out  the  idea  of  the 
earth,  cast  off  by  the  sun. 

In  the  entrance  court  we  found  the  effects  less  mag- 
nificent but,  in  their  way,  just  as  beautiful.  The  lighting 
emphasized  the  refinement  of  the  court,  the  rich  delicacy 
of  the  ornamentation.  "Mullgardt  ought  to  go  down  into 
history  for  this  contribution  to  the  Exposition,"  said  the 
architect.  "He  has  shown  that  originality  is  still  possible 
in  architecture." 

In  the  Court  of  the  Four  Seasons  we  watched  the  Em- 
erald Pool  turning  the  architecture  into  a  mermaids' 
palace.  The  water  flowing  under  the  four  groups  of  the 
seasons  shone  from  an  invisible  light  beneath,  coloring  it 
a  rich  green.  "When  Ryan  promised  to  illuminate  the 
water  here  without  letting  the  source  of  the  light  be  seen, 
it  was  thought  by  the  people  it  couldn't  be  done."  For 
a  long  time  we  sat  in  front  of  the  lagoon  where  the 
swans  were  silently  floating  and,  and  the  Palace  of  Fine 
Arts  was  reproduced  with  a  deeper  mystery.  Now  we 

[  104  ] 


3  "  S  g  g  S  °  "  §  ^  5  2  ^  §  ; 
S  "  S  3  S  n  H  2  g  !3  5  S  o  S  w 

S  Q  S  g  S  ==  S  -  g  H  w  g  a  I  S 


d  PhS 


>  5  f  s 
r 


a:  n  "  5 
w  tj  ,  - 
>  E  I 


THE  ILLUMINATING  AND  THE  REFLECTIONS 

could  feel  the  relation  between  the  colonnade  and  Ger- 
ome's  chariot  race.  "It  would  please  Gerome  if  he  could 
know  that  he  had  helped  to  inspire  so  magnificent  a  con- 
ception," said  the  architect.  "And  if  Boecklin  could  see  this 
vision  and  hear  that  his  Island  of  the  Dead  had  started 
Maybeck's  mind  thinking  of  it  he  would  probably  be 
astonished  and  delighted  at  the  same  time.  With  his  fine 
understanding  of  the  influences  operating  in  art  he  would 
see  that  his  contribution  did  not  in  any  way  detract  from 
Maybeck's  originality.  Down  the  centuries  minds  have 
been  influencing  one  another  and,  in  this  way,  adding  to 
the  sum  of  wisdom  and  beauty  in  the  world.  Now  and 
then,  as  in  this  instance,  we  can  plainly  see  the  influences 
at  work.  Behind  Boecklin  and  Gerome  there  were  doubt- 
less influences  that  led  to  their  making  those  two  pictures, 
inspirations  from  nature  or  from  other  artists,  or  both 
together.  And  this  palace  will  doubtless  inspire  many 
another  noble  conception." 

"When  we  apply  that  thought  to  the  Exposition  as  a 
whole,"  I  said,  "we  can  see  what  a  big  influence  it  is 
likely  to  have  on  the  art  of  the  country." 

"It  has  undoubtedly  had  a  big  influence  already,  even 
though  we  may  not  be  able,  as  yet,  to  see  it  working.  The 
very  interest  the  Exposition  has  aroused  in  the  people 
that  come  here,  whether  they  are  artists  or  not,  can't  help 
being  productive." 

SEEING  THE  LIGHTS  FADE 

We  went  over  to  the  South  Gardens  to  see  the  lights 
change  on  the  Tower  of  Jewels,  passing  the  half-dome  of 
Philosophy,  the  stained  glass  of  the  windows  enveiling 
the  background.  They  were  still  robing  the  tower  in  pure 
white,  and  the  hundred  thousand  pieces  of  Austrian  cut 
glass  were  shimmering.  "They  must  have  had  a  hard  time 
getting  those  jewels  fastened  on  the  ornamentation  of  the 
upper  tiers.  The  wind  up  there  is  very  strong.  Some  of 
the  men  came  near  being  blown  oflF.  It  took  pretty  expert 
acrobatic  work  to  hang  the  jewels  out  on  the  extreme 
edges." 

[105] 


THE  CITY  OF   DOMES 

Suddenly  the  lights  on  the  tower  glowed  into  red.  The 
tower  itself  seemed  to  become  thinner  and  finer  in  outline. 

"There  are  people  who  don't  like  this  color,"  said  the 
architect.  "It's  fashionable  nowadays  to  feel  a  prejudice 
against  red.  But  it  is  one  of  the  most  beautiful  colors  in 
nature  and  one  of  nature's  greatest  favorites,  associated 
with  fire  and  with  flowers.  To  me  the  tower  is  never  so 
beautiful  as  it  is  when  the  red  light  seemed  to  burn  from 
a  fire  inside.  See  how  it  tends  to  eliminate  the  superfluous 
ornamentation.  It  brings  out  the  grace  of  line  in  the 
upper  tiers,  like  folded  wings.  With  just  a  few  elimina- 
tions the  improvement  in  that  tower  would  be  aston- 
ishing." 

Presently  the  lights  in  the  tower  went  out  altogether. 
The  four  Italian  towers  also  grew  dim.  It  was  getting 
late.  People  were  hurrying  out.  But  we  lingered.  We 
wished  to  see  this  city  of  domes  at  it  appeared  without 
any  lights  at  all,  except  for  those  that  were  kept  burning 
to  meet  the  requirements  of  the  law. 

For  an  hour  we  roamed  about  the  deserted  place.  Here 
and  there  we  would  meet  a  belated  visitor  or  a  group  of 
people  from  some  indoor  festivity. 

The  material  had  taken  on  a  finer  quality.  It  looked 
like  stone.  Wonderful  as  the  Exposition  was  by  day  and 
in  the  evening,  it  was  far  more  wonderful  at  this  hour. 

Now  it  was  easy  to  imagine  the  scene  as  a  city,  with 
the  inhabitants  asleep  in  their  beds.  But  just  what  kind 
of  city  it  was  I  could  not  make  up  my  mind.  When  I 
expressed  this  thought  to  the  architect,  he  said: 

"Have  you  ever  seen  David  Roberts'  big  illustrated 
volumes,  'Travels  in  the  Holy  Land'?  If  you  haven't, 
look  them  up.  Then  you  will  see  what  kind  of  a  city  this 
city  is.  It's  a  city  of  Palestine.  It's  Jerusalem  and  Jaffa 
and  Akka  all  over  again." 


[io6] 


FEATURES  THAT  OUGHT  TO  BE 
NOTED  BY  DAY 

THE   SOUTH   GARDENS 

Hedge.  Idea  suggested  by  W.  B.  Faville,  of  Bliss  &  Faville, 
architects,  of  San  Francisco,  and  developed  by  John  McLaren, 
landscape  gardener  and  superintendent  of  the  Golden  Gate  Park, 
San  Francisco,  to  give  impression  of  old  English  wall.  African 
dew  plant  grown  in  shallow  boxes,  two  inches  deep,  covered  with 
wire  netting. 

Design  of  entrance  at  Scott  Street,  by  Joseph  J.  Rankin. 

South  Gardens,  French  in  character,  with  suggestions  of  Span- 
ish. Planting  by  John  McLaren. 

In  center,  "Fountain  of  Energy,"  by  A.  Stirling  Calder,  acting 
chief  of  sculpture;  French  influence.  Expresses  triumph  of  energy 
that  built  the  canal.  Youth  on  horseback,  standing  in  stirrups, 
"Energy."  Figures  on  shoulders,  "Fame"  and  "Valor."  Figures  on 
globe,  two  hemispheres ;  Western,  bull-man ;  Eastern,  lioness- 
woman.  Figures  on  base,  sea-spirits.  Upright  figure  on  globe,  Pan- 
ama. Large  figures  in  pool,  the  oceans :  The  Atlantic,  a  woman 
with  coral  in  her  hair,  riding  on  back  of  armored  fish ;  North 
Sea,  an  Eskimo  hunting  on  back  of  walrus;  Pacific,  a  woman  on 
back  of  large  sea  lion;  and  South  Sea,  a  negro  on  back  of 
trumpeting  sea-elephant.  Sea-maidens  on  dolphins'  backs,  in  pool. 

To  right  and  left,  in  front  of  Festival  Hall,  and  Horticultural 
Palace,  at  ends  of  long  pools,  French  fountain  of  "The  Mermaid," 
figure,  by  Arthur  Putnam,  of  San  Francisco. 

To  right,  large  building.  Festival  Hall,  by  Robert  Farquhar,  of 

Los  Angeles ;  French  theatre  architecture.  Studied  from  the 
theatres  of  the  Beaux  Arts  style  of  French  architecture.  Details, 
French  Renaissance  developed  from  the  Italian  influence. 

To  right,  Press  Building,  designed  and  built  by  the  Exposition ; 
Harris  H.  D.  Connick,  Director  of  Works. 

To  left,  large  building.  Palace  of  Horticulture,  Bakewell  & 
Brown,  architects. 

To  left.  Young  Women's  Christian  Association. 

French  light  standards,  by  Walter  D'Arcy  Ryan  and  P.  E. 
Denneville. 

French  ornamental  vases,  filled  with  flowers,  by  E.  F.  Champ- 
ney. 

The  wall,  by  Faville,  with  ornamental  Spanish  entrances,  runs 
around  main  courts  and  palaces,  making  the  walled  city.  Tiled 
roofs  suggesting  mission  architecture,  associated  with  early  Cali- 
fornia missions,  a  style  developed  from  the  Spanish. 

Four  smaller  towers,  two  on  either  side  of  large  tower,  by 
George  W.  Kelham,  of  San  Francisco,  Italian  Renaissance. 

Sand  on  walks,  selected  by  Jules  Guerin  for  its  pink  color  to 
harmonize  with  color  scheme.  Binds  together  buildings,  its  pink 

[i07l 


THE  CITY  OF  DOMES 

harmonizing  with  pink  of  walls.  Grains  of  sand  in  walks  trans- 
lucent. 

Flag  poles,  ornamented  with  gilt  star,  by  Faville.  Orange- 
colored  streamers  by  Guerin. 

Heraldic  designs  related  to  history  of  Pacific  Coast,  by  Ryan. 

Thoroughfare  running  along  wall  and  lined  with  palms,  Avenue 
of  Palms. 

Equestrian  statue,  to  right  of  Tower  of  Jewels,  by  Charles  Nie- 
haus,  "Cortez,"  conquerer  of  Mexico. 

Equestrian  statue,  to  left,  by  Charles  Gary  Rumsey,  "Pizar- 
ro,"  conqueror  of  Peru.    Fine  in  action  and  spirit. 

TOWER  OF  JEWELS 

Main  tower  breaking  southern  wall,  facing  South  Gardens,  the 
Tower  of  Jewels,  by  Thomas  Hastings,  of  Carrere  &  Hastings, 
New  York.  Developed  from  Italian  Renaissance  architecture,  with 
Byzantine  modifications,  and  designed  to  suggest  an  Aztec  tower; 
433  feet  high;  original  intention  to  make  it  lOO  feet  higher. 

Inscriptions  on  wall  at  base  of  tower  chosen  by  Porter  Garnett 
of  Berkeley,  explain  steps  that  led  to  building  of  Panama  Canal, 
celebrated  by  Exposition.  On  both  sides  of  inscriptions  Roman 
fasces  denoting  pubhc  authority.  From  left  to  right:  "1501  Rod- 
rigo  de  Bastides  pursuing  his  course  beyond  the  West  Indies  dis- 
covers Panama";  "1513  Vasco  Nunes  de  Balboa  crosses  the 
Isthmus  of  Panama  and  discovers  the  Pacific  Ocean";  "1904  the 
United  States,  succeeding  France,  begins  operations  on  the  Pana- 
ma Canal";  "1915  the  Panama  Canal  is  opened  to  the  commerce 
of  the  world." 

Large  Composite  columns  on  base.  Arched  capitals  with  acan- 
thus, ornamented  with  the  American  eagle,  the  nude  figure  of 
child,  and  ornamental  design  suggesting  California  fruits.  Col- 
ored to  resemble  Sienna  marble. 

Corinthian  columns  at  either  side,  eagles  at  corners  of  capital, 
human  head  above. 

Figures  by  John  Flanagan,  of  New  York,  represent  types  in 
early  California  history:  Spanish  adventurer  of  sixteenth  cen- 
tury, who  came  to  California  and  started  Spanish  influence; 
priest,  who  brought  the  Catholic  religion  to  California  Indians ; 
philosopher,  or  scholar  and  teacher ;  and  the  Spanish  warrior,  the 
soldier  of  sixteenth  century,  who  came  to  win  territory  for  Span- 
ish king.  Above  cornice  of  tower  stand  four  figures  on  each  of 
the  four  sides,  twice  life-size. 

Between  statues  by  Flanagan,  square  decorative  panels ;  youth- 
ful figures  with  wreath,  repeated  on  north  of  tower.  Designed  by 
Hastings,  modelled  by  Newman  and  Evans,  New  York. 

Armored  horsemen  on  terrace,  by  F.  M.  L.  Tonetti,  type  of 
Spanish  soldier.  Repeated  four  times  on  each  side.  Well  modeled, 
but  damaged  in  effect  by  being  placed  in  row. 

[108] 


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FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

Rows  of  eagles  on  niches  of  tower,  symbol  of  American  in- 
itiative. 

Decorative  vase  on  wings  of  tower,  Italian.  Use  of  ram's  head 
below  bowl. 

Wreaths  of  laurel  under  eagles,  rewards  of  courage,  suggest- 
ing triumph  of  building  canal. 

Prows  of  triremes,  at  corners  on  third  lift,  denoting  world- 
wide commerce. 

Ornamental  use  of  niches,  columns,  vases,  head-piece,  breast- 
plates, shields,  the  pagan  bull,  Cleopatra's  Needle. 

Human  figures  supporting  globe,  encircled  with  girdle,  point  of 
tower;  suggest  Atlas;  ancient  idea;  somewhat  like  the  group 
of  the  four  quarters  of  the  world  by  Jean  Baptiste  Carbeaux  in 
the  gardens  of  the  Luxembourg. 

Tower  broken  into  seven  stages.  Horizontal  lines  have  flatten- 
ing effect;  tower  does  not  appear  so  high  as  it  really  is. 

One  hundred  and  thirty-five  thousand  jewels  on  tower,  sus- 
pended to  vibrate.  Ruby,  emerald,  aquamarine,  white,  yellow. 
Made  in  Austria,  of  Sumatra  stone. 

Arch  of  Tower  of  Jewels,  no  feet  high,  60  feet  broad;  fine 
example  of  Roman  arch,  like  Arch  of  Constantine  and  Arch  of 
Titus. 

Figure  of  Minerva  on  centerpiece  of  arch,  north  and  south. 

Recessed  or  coffered  panels  in  ceiling,  richly  colored,  blue  har- 
monizing with  murals  on  east  and  west  walls. 

Murals  by  William  de  Leftwich  Dodge,  of  New  York.  To 
west,  "Atlantic  and  the  Pacific,"  with  the  "Purchase"  to  right, 
and  the  "Discovery"  to  left.  Opposite,  "Gateway  of  All  Nations," 
with  "Labor  Crowned"  and  the  "Achievement"  on  sides.  Tone 
of  murals  strengthens  arch.  Subjects  related  to  history  of  Cali- 
fornia and  the  Panama  Canal. 

Fountains,  one  in  each  of  the  colonnades.  To  right,  "Fountain  of 
Youth,"  by  Mrs.  Edith  Woodman  Burroughs,  of  Flushing,  New 
York.  Figure  of  girl,  simple  and  well-modeled ;  panels  at  either 
side  show  boats,  youth  rowing  the  older  people ;  eagle  and  laurel 
wreath  at  back,  suggest  that  central  figure  is  United  States. 
One  figure  shows  a  woman  with  hand  at  ear,  her  attention 
turned  toward  the  beauty  and  happiness  of  lost  youth.  To  left, 
"Fountain  of  El  Dorado,"  by  Gertrude  Vanderbilt  Whitney  (Mrs. 
Harry  Payne  Whitney),  of  New  York.  Panels  at  either  side  show 
human  struggle  for  "land  of  gold."  or  "happiness,"  or  "success." 
Portals  ajar,  but  Egyptian  guardians  bar  the  way.  Dramatic  sub- 
ject, vigorous  handling. 

View  of  San  Francisco  hills  between  the  columns,  one  of  the 
most  beautiful  views  on  the  grounds. 

Inscriptions  on  north  of  tower,  by  Garnett,  discovery  of  Cali- 
fornia and  union  with  United  States.  From  left  to  right:  "1542 
Juan  Rodriguez  Cabrillo  discovers  California  and  lands  on  its 

[  109] 


THE  CITY  OF  DOMES 

shores."  "1776  Jose  Joaquin  Moraga  founds  the  Mission  of  San 
Francisco  de  Asis";  "1846  the  United  States  upon  the  outbreak 
of  war  with  Mexico  takes  possession  of  California";  "1850  CaH- 
fornia  is  admitted  to  the  Union  as  a  sovereign  State." 

Forecourt  of  Court  of  Universe;  coloring  good,  graceful  plant- 
ing of  cypress. 

Trees  in  niches  under  tower;  contrast  of  colors,  dark  green, 
blue  and  pink. 

COURT  OF  THE  UNIVERSE 

Elephant  poles,  Roman,  by  McKim,  Mead  &  White;  streamers 
by  Guerin. 

Bear  fountains,  in  walls  of  Palaces  of  Liberal  Arts  and  Manu- 
factures, north  of  Tower  of  Jewels.  Three  on  each  wall.  Colors, 
pink,  dark  blue,  light  green. 

Largest  court  in  Exposition.  By  McKim,  Mead  &  White,  archi- 
tects, of  New  York.  Inspired  by  Bernini's  entrance  to  St.  Peter's, 
in  Rome. 

Area  of  court,  seven  acres ;  650  feet  wide  from  arch  to  arch ; 
1200  feet  from  Tower  of  Jewels  to  Column  of  Progress. 

Palaces  around  court :  northeast.  Transportation ;  northwest, 
Agriculture;  southwest,  Liberal  Arts;  southeast.  Manufactures. 

Sunken  Garden,  planted  by  John  McLaren. 

Height  of  Arches  of  Rising  Sun  and  Setting  Sun,  203  feet 
from  base  to  tip  of  sculpture. 

East,  Arch  of  Rising  Sun ;  Arch  of  Setting  Sun,  in  west. 
Suggested  by  arches  of  Constantine  and  Titus  in  Rome ;  modified 
by  use  of  green  lattices.  Oriental,  and  by  colossal  sculptural 
groups,  the  East  and  the  West,  in  place  of  Roman  chariot  or 
quadriga. 

Columns  in  front  of  arches;  composite,  mingling  of  Ionic  and 
Corinthian;  female  figure  used  as  decoration. 

"Angel  of  Peace,"  by  Leo  Lentelli,  on  each  side  of  arches  on 
Sienna  cohimns,  repeated  four  times.  Sword  is  turned  down,  but 
not  sheathed,  a  commentary  on  modern  peace. 

"Pegasus,"  in  triangular  spaces  above  arch,  by  Frederick  G.  R. 
Roth,  repeated  on  the  other  side. 

Medallions,  right  and  left  sides  of  arches.  Female  figures  sug- 
gesting Nature,  by  Calder ;  male  figures  suggesting  Art,  by  B. 
Bufano,  of  New  York. 

Above  medallions  on  frieze,  decorative  griffons. 

Quotations  on  Arch  of  Rising  Sun,  west  side,  facing  court, 
chosen  by  Garnett.  Panels  from  left  to  right :  "They  who  know 
the  truth  are  not  equal  to  those  who  love  it,"  from  Confucius,  the 
Chinese  philosopher;  "The  moon  sinks  yonder  in  the  west  while 
in  the  east  the  glorious  sun  behind  the  herald  dawn  appears ; 
thus  rise  and  set  in  constant  change  those  shining  orbs  and  regu- 
late the  very  life  of  this,  our  world,"  from  "Shakuntala"  by  Kali- 

[no] 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

dasa,  the  Indian  poet ;  "Our  eyes  and  hearts  uplifted  seem  to  gaze 
on  heaven's  radiance,"  from  Hitomaro,  the  Japanese  poet. 

Quotations  on  Arch  of  Rising  Sun,  east  side,  facing  Florentine 
Court.  Panels  from  left  to  right:  "He  that  honors  not  himself 
lacks  honor  wheresoe'er  he  goes,"  from  Zuhayr,  the  Arabian  poet ; 
"The  balmy  air  diffuses  health  and  fragrance ;  so  tempered  is  the 
genial  glow  that  we  know  neither  heat  nor  cold ;  tulips  and  hya- 
cinths abound ;  fostered  by  a  delicious  cHme  the  earth  blooms 
like  a  garden,"  from  Firdausi,  the  Persian  poet;  "A  wise  man 
teaches,  be  not  angry.  From  untrodden  ways  turn  aside,"  from 
Phra  Ruang,  the  Siamese  poet. 

Crenellated  parapet  on  arches,  note  from  military  architecture. 
Archers  used  to  shoot  from  behind. 

Cleopatra's  Needle  repeated  on  edge  of  arches.  Used  by  the 
Egyptians  as  historical  records  and  public  bulletins.  Merely  deco- 
rative. 

Green  jars,  beautifully  designed,  in  niches  at  base  of  Arches 
of  Rising  and  Setting  Sun,  McKim,  Mead  &  White.  Eight  in  each 
arch. 

Arch  of  the  Rising  Sun,  surmounted  by  group  representing 
types  of  Oriental  civilization.  "Nations  of  the  East,"  designed  by 
Calder,  and  executed  in  collaboration  with  Lentelli  and  Roth. 
From  left  to  right :  Arab  sheik  on  horse,  negro  slave,  Egyptian 
on  camel,  Arab  falconer,  Indian  prince,  Buddhist  priest  or  lama 
from  Thibet,  Mohammedan  with  crescent,  negro  slave,  and  Mon- 
golian on  horseback. 

Murals  in  arch  by  Edward  Simmons,  of  New  York.  On  north 
wall,  from  left  to  right.  True  Hope  and  False  Hope,  Commerce, 
Inspiration,  Truth,  Religion,  Wealth,  Family;  in  background 
Asiatic  and  American  cities.  On  south  wall :  historical  types, 
nations  that  have  crossed  the  Atlantic;  from  left  to  right,  "Call 
to  Fortune,"  listening  to  the  past,  the  workman,  the  artist,  the 
priest,  Raleigh  the  adventurer,  Columbus  the  discoverer,  the  sav- 
age of  lost  Atlantis,  the  Grseco-Roman,  and  the  Spirit  of  Adven- 
ture sounding  the  call  to  fortune.  In  background,  ancient  and 
modern  ships. 

Arch  of  Setting  Sun.  Statues,  frieze,  spandrels,  parapet, 
identical  with  Arch  of  Rising  Sun.  Group  on  top,  "The  Nations 
of  the  West,"  designed  by  Calder,  executed  in  collaboration  with 
Lentelli  and  Roth.  American  figures  grouped  around  prairie 
wagon,  drawn  by  two  oxen.  Above  wagon,  "Enterprise";  in 
front,  "The  Mother  of  Tomorrow."  white  boy  on  one  side,  colored 
boy  on  other ;  south,  a  French-Canadian,  an  Alaskan  woman,  a 
Spanish-American,  a  German ;  north,  an  Italian,  British- Ameri- 
can, squaw,  American  Indian. 

Quotations  on  Arch  of  Setting  Sun,  chosen  by  Garnett.  Panels 
from  left  to  right,  facing  court :  "In  Nature's  infinite  book  of 
secrecy  a  little  I  can  read,"  from  "Antony  and  Cleopatra,"  by 
Shakespeare,  the  English  poet ; 

[III] 


THE  CITY  OF  DOMES 

"Facing  west  from  California's  shores, 
Inquiring,  tireless,  seeking  what  is  yet  unfound, 
I,  a  child,  very  old,  over  waves,  toward  the  house  of  maternity, 

the  land  of  migrations,  look  afar. 
Look  off  the  shores  of  my  Western  sea,  the  circle  almost  circled." 
from  "Leaves  of  Grass,"  by  Walt  Whitman,  the  American  poet; 
"Truth,  witness  of  the  past,  councillor  of  the  present,  guide  of 
the  future,"  from  "Don  Quixote,"  by  Cervantes,  the  Spanish 
novelist. 

Murals  in  Arch  of  the  Setting  Sun,  by  Frank  Vincent  Du  Mond, 
of  New  York.  "Westward  March  of  Civilization,"  beginning  on 
north  and  continuing  on  south  wall.  Four  groups  in  north  panel, 
from  left  to  right.  Emigrants  setting  out  for  the  west ;  two  work- 
men and  a  woman  holding  child ;  symbolic  figure  of  the  Call  to 
Fortune ;  types  of  those  who  crossed  the  continent,  the  driver,  the 
Preacher,  the  Pioneer,  the  Judge,  the  Schoolmistress,  the  chil- 
dren ;  youth  bidding  farewell  to  parents ;  in  background.  New 
England  home  and  meeting  place.  South  wall :  four  groups  in 
panel,  from  left  to  right;  two  Spanish-American  soldiers  and 
captain  with  a  Spanish  priest,  suggesting  Mission  period ;  sym- 
bohcal  figure  "Spirit  of  Enlightenment" ;  types  of  immigrants,  the 
Scientist,  the  Architect,  the  Writer  Bret  Harte,  the  Sculptor,  the 
Painter  William  Keith,  the  Agriculturist,  the  Laborer,  women 
and  children ;  California  welcoming  the  easterners,  figures  of  Cali- 
fornia bear,  farmer,  miner,  fruit  pickers ;  orange  tree,  grain  and 
fruit,  symbols  of  state. 

Classic  groups  at  head  of  steps  in  front  of  arches  leading 
down  into  gardens  by  Paul  Manship,  of  New  York.  North  side, 
"The  Dancing  Girls" ;  south,  "Music  and  Art." 

Star-figure,  along  upper  edge  of  court,  by  Calder.  Repeated 
ninety  times.  Contrast  with  angel  in  front  of  arches. 

Lion's  head,  on  cornice  below  star-figure,  repeated  around  court. 

Gilt  balls  on  the  domes  of  all  six  pavilions.  Represent  an  orna- 
mental motive  borrowed  from  the  Byzantines  and  often  used  on 
synagogues.  A  feature  of  St.  Mark's.  Dr.  Jacob  Nieto,  rabbi  of 
the  Temple  Israel,  of  San  Francisco,  has  an  interesting  theory  as 
to  their  origin.  "The  ancients  always  had  the  greatest  regard  for 
the  central  star  of  each  of  the  constellations  that  made  up  the 
zodiacal  signs.  No  doubt  in  their  method  of  representation  they 
would  symboHze  the  central  stars  by  a  globe,  as  they  also  did  the 
sun  and  the  moon,  looking  upon  them  all  as  servants  of  the 
earth,  and  having,  possibly,  no  idea  that  these  other  constellations 
might  be  separate  solar  systems." 

Frieze  on  pavilions  at  corners  of  court,  "Signs  of  the  Zodiac," 
Atlas  and  fourteen  daughters,  seven  Pleiades  and  seven  Hyades, 
twelve  bearing  plaques,  by  Herman  A.  MacNeil,  of  New  York. 
On  four  sides  of  each  of  the  six  dome-covered  pavilions.  The 
third  figure  from  the  end  on  either  side  represents  Electra. 
Sculptor,  in  modelling  the  form,  put  it  on  one  side  and  then  re- 

[112] 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

versed  it  on  the  other  side.  The  daughters  of  Atlas:  only  those 
representing  signs  of  the  Zodiac,  have  shields.  On  each  shield  is 
one  of  the  signs  of  the  Zodiac.  What  the  sculptor  has  designed 
on  the  right  is  reversed  on  the  left,  securing  absolute  symmetry. 
The  figures  are  finely  done  and  merit  special  attention. 

Lamps  around  sunken  garden.  Women;  the  Canephori,  priest- 
esses who  carried  baskets  in  ancient  Greek  rehgious  festivals ; 
men,  suggestive  of  Hermes,  used  by  Romans  at  ends  of  roads. 
Instead  of  baskets,  they  all  carry  jars. 

"Fountain  of  the  Rising  Sun."  Ninety-foot  column  crowned 
by  figure  of  Rising  Sun,  by  Adolph  A.  Weinman,  of  New  York. 
Reliefs  at  base  of  column.  "Day  Triumphant" ;  Time,  Light, 
Truth,  Energy,  conquering  Falsehood,  Vice,  and  Darkness.  Orna- 
mental figures  under  upper  bowl,  looking  down  into  water,  sug- 
gest Neptune,  but  are  winged,  "Spirit  of  the  Waters." 

"Fountain  of  Setting  Sun."  Column  with  figure  of  Setting 
Sun,  a  woman ;  called  also  "Descending  Night."  Reliefs  at  base 
of  fountain,  "Gentle  Powers  of  Night,"  with  Dusk  covering 
Labor,  Love,  and  Peace,  followed  by  the  Stars,  Luna,  Illusions, 
and  Evening  Mists. 

Tritons  in  pools  of  Fountains  of  Rising  and  Setting  Sun,  by 
Weinman.  Two  statues;  one,  triton  struggles  with  snake;  in  the 
other,  with  fish.  Two  duplicated  in  each  pool. 

Sheetlike  appearance  of  water  when  full  force  of  water  is  on; 
streams  from  figures  in  pool,  overflowing  from  bowl,  spouting 
from  lion  heads  above  frieze. 

"The  Elements,"  reclining  figures  at  head  of  main  stairs  lead- 
ing down  to  sunken  gardens,  by  Robert  Aitken,  of  New  York. 
In  size  and  treatment,  suggestive  of  Michael  Angelo.  North- 
east, "Water,"  riding  a  wave,  with  his  trident  in  one  hand, 
sea  weed  in  the  other.  Northwest,  "Fire,"  a  Greek  warrior  lies 
in  agony,  grasping  fire  and  lightning,  with  Phoenix,  bird  of 
flame,  at  back,  and  the  salamander,  reptile  of  fire,  under  his  right 
leg.  Southeast,  "Earth,''  a  woman  leaning  against  a  tree,  apparently 
sleeping;  at  back  two  human  figures  struggle  to  uproot  tree, 
symbol  of  man's  war  with  nature.  Southwest,  "Air,"  woman 
holding  star  to  ear;  birds,  symbol  of  air;  Icarus,  mythological 
aviator  who  fell  into  sea,  tied  to  wings  of  woman,  typifying 
man's  effort  to  conquer  the  air. 

Small  lion  fountains  below  "The  Elements,"  by  McKim,  Mead 
&  White. 

Bandstand,  Arabic ;  picturesque,  but  inharmonious ;  obstructs 
view  through  entrance  court. 

Four  tigers  at  base  of  bandstand,  facing  pool ;  decorative. 

Court  leading  from  gardens  to  Column  of  Progress.  Designs 
repeated  in  frieze  and  in  jeweled  lamps  of  shell  design,  McKim, 
Mead  &  White;  fine  detail. 

Colonnades  on  either  side  of  court  leading  to  Marina.  Large 

["31 


THE  CITY   OF   DOMES 

Roman  hanging  lamps.   Stars  in  ceilings.   Beauty  in  design,  color- 
ing and  sweep  of  corridor. 

Frieze  around  main  doorway  in  colonnades,  bird  and  conven- 
tionalized foliage;  skilfully  designed. 

ON  THE  MARINA 

View  from  Marina :  Extreme  right,  Berkeley  and  Oakland ;  in 
center  of  bay,  Alcatraz  Island,  like  a  white  citadel ;  left  of  Al- 
catraz,  Angel  Island ;  left  of  Angel  Island,  Belvedere ;  left,  Marin 
Coimty,  including  Sausalito  and  Mount  Tamalpais,  with  military 
reservation  facing  the  Golden  Gate  and  looking  across  to  the 
large  military  reservation,  Presidio. 

Column  of  Progress,  celebrating  the  Progress  of  Man.  Pre- 
liminary sketch  by  Calder.  W.  Symmes  Richardson,  architect. 
Reliefs  at  base,  by  Isidore  Konti,  of  New  York.  Surmounting 
statue,  by  Hermon  A.  MacNeil,  of  New  York. 

Tablets  on  four  sides  of  base,  in  commemoration  of  aerial  ad- 
vancement. To  the  west,  the  scientific  phase,  a  tribute  to  Lang- 
ley,  who  first  solved  the  problem  of  flying.  To  the  north,  aerial 
achievement.  To  the  east,  aerial  organization.  To  the  south,  his- 
tory of  flying. 

Frieze  at  base  on  four  sides  celebrates  beginning  of  progress. 
On  south  front,  two  women  holding  palm  branches,  symbol  of 
victory,  call  mankind  to  achievement. 

Wreath  at  base  of  column,  reward  of  achievement. 

Top  of  pedestal,  ornamental  garland,  with  figure  of  Sphinx  at 
corners. 

Spiral,  winding  around  column,  with  ships  in  full  sail,  sug- 
gestive of  upward  progress  of  world.  Similar  spiral  on  Column 
of  Trajan  and  Column  of  Marcus  Aurelius,  in  Rome. 

Circular  frieze  sustaining  main  group  at  top,  "The  Burden 
Bearers,"  by  MacNeil. 

Group  on  top,  "The  Adventurous  Bowman,"  the  Superman, 
representing  moment  of  attainment.  Thtee  figures,  the  domi- 
nating male,  with  the  male  supporter  steadying  his  arm,  and  the 
devoted  woman  ready  to  crown  him  with  laurel. 

First  use  of  this  kind  of  column  for  an  idealistic  conception. 
Prototypes  of  this  column,  like  Trajan's  Column,  but  to  celebrate 
some  warlike  figure  or  feat. 

Best  place  to  view  column,  from  north,  near  California  Build- 
ing. 

Esplanade,  straight  northern  wall,  broken  by  Court  of  Four 
Seasons,  Court  of  the  Universe,  and  Court  of  the  Ages.  North- 
ern facades  of  all  four  buildings,  ornate  doors  in  duplicate  of 
Spanish  plateresque  doorways. 

Main  doorways,  rich  detail.  Statues  in  niches,  by  Allen  New- 
man, of  New  York.  Center,  "Conquistador,"  sixteenth  century 
Spanish  adventurer.  Figure  on  either  side  in  dupHcate,  Newman's 

[114] 


i 


ARCADED  VESTIBULE,   THE   ENTRANCE  TO  THE 
PALACE   OF    MACHINERY.     THE    SCULPTURED 
RELIEFS  AT   THE   BASE  OF  THE  COLUMNS  AND 
THE   SPANDRELS  DIRECTLY   ABOVE  THE 
ARCHES,    BY    HAIG    PATIGIAN,    SUGGESTING 
THE    POWER    OF    MODERN     INVENTIONS, 
CONTRIBUTE   TO    THE   GENERAL   EFFECT    OF 
STRENGTH    AND   SPLENDOR. 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

"Pirate,"   who  preyed   on   shore   commerce   of   South   America. 
Humorous  touch  in  bowlegs. 

Magnificent  view  from  Marina  of  San  Francisco  back  of  the 
Tower  of  Jewels.  Like  a  painting  by  Cezanne. 

APPROACHING  THE  COURT  OF  FOUR  SEASONS 
FROM  THE  COURT  OF  THE  UNIVERSE 

Venetian  Court. 

Palaces  on  sides  of  court;  to  the  north,  Agriculture;  to  the 
south,  Liberal  Arts. 

Quotation  on  Arch  of  Setting  Sun,  facing  Venetian  Court, 
chosen  by  Garnett.  Panels  from  left  to  right :  "The  world  is  in 
its  most  excellent  state  when  justice  is  supreme,"  from  Dante, 
the  Italian  poet;  "It  is  absolutely  indispensable  for  the  United 
States  to  effect  a  passage  from  the  Mexican  Gulf  to  the  Pacific 
Ocean,  and  I  am  certain  that  they  will  do  it.  Would  that  I  might 
live  to  see  it.  But  I  shall  not,"  from  Goethe,  the  German  poet; 
"The  Universe,  an  infinite  sphere,  the  center  everywhere,  the  cir- 
cumference no  where,"  from  Pascal,  the  French  philosopher, 

Italian  Renaissance  architecture. 

Colors  rich  and  well  harmonized ;  pink  and  green. 

Picturesque  lattice  work  in  small  doorways. 

Lighting  standards,  by  Faville. 

Goats'  head^  at  top  of  standards,  just  below  the  globe. 

Arches  on  sides,  coupled  Corinthian  columns.  Endeavor  to 
make  them  more  interesting  than  formal  type  of  fluted  columns. 
Four  designs.    They  add  to  richness  of  court. 

Winged  figures  over  arches,  by  Faville. 

Blue  medallions  above  arches,  Faville.  Italiari  adaptation  of 
Byzantine.  Ship  of  State,  the  Bison,  the  Twins  holding  garlands 
representing  abundance,  the  horn  of  plenty  and  cadeucus,  and 
tree. 

Coloring  under  eaves,  bright  shades,  blue  and  orange. 

Planting,  by  McLaren,  well-massed,  in  great  profusion, 

COURT  OF  FOUR  SEASONS 

Court  of  Four  Seasons,  Henry  Bacon,  of  New  York,  architect. 
Hadrian's  Villa  used  as  model  for  half-dome  and  columns  in 
front  of  fountain.  Italian  Renaissance  in  feeling.  Every  detail  in 
classic  spirit.  Gives  impression  of  seclusion  and  peace. 

Quotations  on  gateways  chosen  by  Garnett.  On  the  eastern 
gateway,  "So  forth  issew'd  the  seasons  of  .the  yeare — first,  lusty 
spring  all  dight  in  leaves  and  flowres — then  came  the  jolly  sommer 
being  dight  in  a  thin  cassock  coloured  grecne,  then  came  the 
autumne  all  in  yellow  clad — lastly  came  winter  cloathed  all  in 
frize.  chattering  his  teeth  for  cold  that  did  him  chill,"  from  "The 
Faerie  Queene,"  by  Edmund  Spenser.  On  the  western  gateway, 
"For  lasting  happiness  we  turn  our  eyes  to  one  alone,  and  she 

fiiSl 


THE  CITY  OF  DOMES 

surrounds  you  now,  great  nature,  refuge  of  the  weary  heart  and 
only  balm  to  breasts  that  have  been  bruised.  She  hath  cool  hands 
for  every  fevered  brow  and  gentlest  silence  for  the  troubled 
soul,"  from  "The  Triumph  of  Bohemia,"  by  George  Sterling. 

Palaces  around  court :  northeast,  Agriculture ;  northwest.  Food 
Products;  southwest.  Education;  southeast,  Liberal  Arts. 

Emerald  pool.  Surrounded  by  shrubbery.  No  sculpture.  Archi- 
tectural term,  a  "black  mirror."  Fine  reflections. 

Planting,  by  McLaren,  simple  and  eflfective.  Trees,  olive, 
acacia,  eucalyptus,  cypress,  laurel.  All  foliage,  grey-green ;  banner 
poles  same  color. 

Banners,  by  Ryan;  no  heraldic  designs. 

Best  view  of  court  from  between  columns  of  Fountains  of 
Spring  or  Autumn. 

Bulls  at  sides,  above  entrance  to  north  court,  "Feast  of  the 
Sacrifice,"  by  Albert  Jaegers,  of  New  York.  Youth  and  maiden 
leading  bulls  to  harvest  festival,  suggested  by  great  garlands. 

Roman  eagles  below  bulls  on  four  corners  of  north  court. 

Bull's  head  with  festoons,  skull  motive,  at  base  of  corner 
pavilions  at  four  corners  of  north  court,  Roman. 

Lion's  head  around  cornice,  designed  by  the  architect,  modelled 
by  artisans  of  Exposition. 

Bulls'  heads  above  cornices  between  festoons  of  flowers  around 
court.  Roman  motive. 

Statue  above  south  dome,  "Harvest,"  by  Albert  Jaegers.  Seat- 
ed figure  with  horn  of  plenty.  Fruits  and  grains  on  either  side. 

"Abundance,"  statue  repeated  four  times  over  each  gateway, 
by  August  Jaegers. 

Vases  repeated  twenty-four  times  on  balustrade  around  court ; 
simple  design,  in  harmony  with  classic  plan  of  court. 

Wreaths  above  cornice  around  court,  harvest  motive,  wheat 
and  grape. 

Pigures  in  triangular  spaces  over  three  arches  of  each  gate- 
way, repeated.  By  August  Jaegers.  Harvest  motive. 

In  ceiling  of  east  and  west  arches,  faint  relief,  terra-cotta  effect. 
Greek  designs ;  coloring,  orange,  faint  greens,  and  browns. 

Signs  of  zodiac  on  gateways.  Aries,  Taurus,  Gemini,  Can- 
cer, Leo.  Virgo,  Libra,  Scorpio,  Sagittarius,  Capricornus,  Aqua- 
rius, Pisces. 

Half-dome  to  south,  "Niche  of  Ceres."  Rich  coloring  in  vault, 
contrasted  with  light  tones  in  arched  section. 

Figures  on  composite  columns  at  right  and  left  of  half-dome, 
"Rain"  and  "Sunshine,"  Albert  Jaegers.  "Rain,"  a  woman  shield- 
ing head  with  mantle  and  holding  shell;  "Sunshine,"  woman 
shading  head  from  sun  with  palm  branch. 

Capitals  of  columns  of  "Rain"  and  "Sunshine,"  agricultural 
figures,  small  harvesters.  Modelled  by  Donnelly  and  Ricci  after 
designs  of  the  architect. 

[116] 


FEATURES  JHAT  OUGHT  TO  BE  NOTED  BY  DAY 

Pedestals  at  base  of  columns,  agricultural  scenes  in  low  relief, 
modelled  by  Donnelly  and  Ricci  after  designs  of  the  architect. 
Farmers  going  to  work  with  women  and  children  and  dog. 

In  niches  at  corners  of  court,  "Fountains  of  the  Seasons,"  sur- 
mounted by  statue  groups  representing  seasons,  Furio  Piccirilli, 
of  New  York. 

Delicate  pink  tinting  of  walls  in  niches,  by  Guerin,  in  imitation 
of  pink  marble. 

Columns  of  colonnades,  Ionic,  with  harvest  suggestion  in  ears 
of  corn  hanging  from  capitals,  flower  at  top. 

Flower  boxes,  in  walls  of  niches  near  top  and  at  top ; 
African  dew  plant  hanging  over  edge ;  give  note  of  age  and  break 
sharp  outline  of  wall  against  sky,  and  contrast  with  color  of  back- 
ground. 

Southwest  corner,  "Spring,"  by  Piccirilli.  Young  woman  with 
floral  garland,  man  adoring,  Flora  bringing  flowers. 

Northwest  corner,  "Summer,"  by  Piccirilli.  Group  expresses 
fruition.  Woman  brings  child  to  husband.  Laborer  with  first 
sheaf  from  field. 

Northeast  corner,  "Autumn,"  by  Piccirilli.  Young  woman  car- 
rying wine  jar,  suggests  fruitfulness.  Harvest  of  fields  and 
human  race ;  one  girl  offers  grapes,  other  a  child. 

Southeast  corner,  "Winter,"  by  Piccirilli.  Bare  tree  at  back; 
laborer  rests  after  tilling;  one  begins  to  sow,  preparing  for 
spring. 

Murals  in  colonnades  with  fountains,  by  H.  Milton  Bancroft. 
Simple  and  obvious,  in  the  pagan  spirit. 

Above  doorway  in  southwest  corner,  Spring.  "Spring"  and 
"Seedtime." 

Northwest  corner.  Summer.  "Summer"  and  "Fruition." 

Northeast  corner,  Autumn.  "Autumn"  and  "Harvest." 

Southeast  corner.  Winter.    "Festivity"  and  "Winter." 

Murals  in  half-dome  to  south,  Bancroft.  Coloring  and  ar- 
rangement of  figures  finer  than  in  smaller  panels. 

On  east  wall  under  dome,  "Art  Crowned  bv  Time."  Father 
Time  crowns  Art ;  on  one  side,  figures  of  Weaving,  Jewelry 
Making,  Glassmaking;  on  other  Printing,  Pottery,  and  Smithery. 

"Man  Receiving  Instruction  in  Nature's  Laws."  Woman  holds 
before  a  child  a  tablet  inscribed  "Laws  of  Nature."  Nature's 
laws  applied  to  Earth,  Water,  Fire,  Love,  Life,  and  Death. 

North  court,  entrance  to  Court  of  Four  Seasons.  Wreaths, 
lion  heads,  bulls'  heads,  harvest  design  on  capitals  of  columns, 
repeated. 

"Ceres,"  by  Miss  Beatrice  Evelyn  Longman,  goddess  of  agri- 
culture, wreath  of  cereals  and  corn  scepter.  Figure  conventional, 
prim  and  modish ;  flowing  skirt. 

Figures  below  "Ceres"  on  drum  represent  carefree  nature. 
In  deep  relief,  cameo-like.  Figures  of  women,  gracefully  mod- 
eled, with  garlands  and  tambourines. 

rii7i 


THE  CITY  OF   DOMES 

Satyrs  spout  water  into  bowl  of  fountain. 

Trees,  yews  in  couples,  on  either  side  of  walks  and  center  of 
lawn ;  redwoods  and  eucalypti  at  sides  of  entrance  to  court. 

Shiny-leaved  dark  green  shrub,  on  borders  in  court,  coprosma. 

Mass  of  green,  placed  at  end  of  court  to  hide  Morro  Castle. 
Deepens  intimate  note  of  court. 

French  lighting  standards  at  north  end  of  court,  by  Ryan  and 
Denneville. 

AISLE  OF  SUNSET 

Aisle  approaching  the  Palace  of  Fine  Arts,  leading  from  Court 
of  Four  Seasons,  west  to  Administration  Avenue,  by  Faville. 

Central  portal,  Spanish  Renaissance,  with  twisted  Byzantine 
columns. 

Globe  above,  symbolical  of  universal  education. 

Main  sculptural  group:  "Education,"  by  Gustave  Gerlach, 
Weehawken,  New  Jersey.  Tree  of  knowledge  in  background. 
Left,  kindergarten  stage.  Center,  half-grown  children.  Right,  man 
working  out  problems  for  himself. 

Below,  open  book  of  knowledge  radiating  light  in  all  direc- 
tions. Small  figures  draw  aside  curtains  of  darkness  and  ignor- 
ance. Hour-glass,  "Time  Flies."  Crown,  for  seekers  of  knowl- 
edge. 

Educational  panels  inlaid  in  wall  over  smaller  entrances,  by 
pupils  of  School  of  Sculpture  of  Beaux  Arts  Architects,  and  Na- 
tional Sculpture  Society. 

Woman  teacher,  by  W.  H.  Peters. 

Man  teacher,  by  Cesare  Stea. 

"Victory,"  on  gables  of  buildings,  by  Louis  Ulrich,  of  New 
York;  "Acroterium" ;  like  "Victory  of  Samothrace." 

Charm  of  green  lattice-work  in  small  doorways  of  palace. 

Main  doorway.  Palace  of  Food  Products,  by  Faville.  Terra 
cotta  effect  on  sides  of  door.  Eagles  above  door,  inspiration. 
Green  lattice-work  in  doors. 

ADMINISTRATION  AVENUE 

West  wall,  magnificent;  facing  Palace  of  Fine  Arts,  broken 
by  Aisle  of  Spring,  and  two  large  Roman  half-domes  in  Palace 
of  Food  Products  and  Palace  of  Education. 

Palaces  facing  avenue :  from  north  to  south.  Food  Products 
and  Education ;  across  lagoon.  Fine  Arts. 

Greenery  and  niches  in  pink  and  blue  prevent  wall  from  being 
monotonous. 

"Dome  of  Plenty,"  in  Palace  of  Food  Products,  harmonizes 
with  half-dome  in  Court  of  Four  Seasons. 

Fountain  in  dome ;  elaborate ;  Sienna  design. 

Man  with  oak  wreath,  repeated  eight  times  above  columns  in 
portal  representing  strength,  by  Earl  Cummings. 

[ii8] 


ONE  OF  THE   BAS-RELIEFS   BV    HAIC   PATIGIAN   ON    THE    COL- 
UMNS   IN    THE    ENTRANCE    TO    THE    PALACE    OF    MACHINERY. 
THEY    REPRESENT   THE   GENII   OF    MACHINERY.     THE   CLOSED 
EYES  SUGGEST   BLIND   FORCE,  THE   POWER   THAT   COMES   FROM 
WITHIN    AND   THAT    IS    DIRECTED   BY    INTELLIGENCE.     THE 
FIGURES    AND    THE    SPREADING    WINGS    ARE    DECORATIVELY 
USED    TO    INDICATE    POWERFUL    SUPPORT.     THEIR    MODELLING 
FOLLOWS   THE    CURVATURE    OF   THE   COLUMNS   AND    IS   WELL 
DONE.      BETWEEN    THE    FIGURES   STAND   SYMBOLS  OF 
MACHINERY. 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

Great  columns  of  imitation  Sienna  on  either  side  of  portal,  sur- 
mounted by  "Physical  Vigor,"  by  Ralph  Stackpole. 

Niches  along  wall,  archaeological  figures,  by  Charles  Harley, 
of  Philadelphia.  "Triumph  of  the  Field,"  man  with  harvest  sym- 
bols, alternating  with  "Abundance,"  woman  with  horn  of  plenty. 

Half-dome  of  Palace  of  Education,  "Dome  of  Philosophy." 
Architecture  as  in  "Dome  of  Plenty."  Charm  of  background, 
ornamented  ceiling,  Corinthian  columns  with  acanthus  leaves. 

Over  doorways,  beautiful  use  of  stained  glass. 

Female  figure  repeated  eight  times  above  inner  columns,  by 
Albert  Weinert;  carries  books;  "Ex  Libris,"  representing  educa- 
tion. 

Statue  by  Stackpole  surmounting  Sienna  columns,  reversed 
duplicate  of  figure  before  "Dome  of  Plenty,"  with  different  name, 
"Thought."    Really  represents  vigorous  man  thinking. 

Figures  in  niches  repeated. 

Roman  fountain,  "Dome  of  Philosophy,"  by  Faville;  simplest 
and  one  of  the  most  beautiful  of  the  fountains  on  grounds.  Sug- 
gested by  fountains  in  Sienna  and  Ravenna. 

PALACE  OF  FINE  ARTS 

Palace  of  Fine  Arts,  Bernard  R.  Maybeck,  of  San  Fran- 
cisco. Conception  inspired  by  Boecklin's  painting,  "The  Island 
of  the  Dead."  Rotunda  like  Pantheon  in  Rome.  Colonnade  sug- 
gested by  Gerome's  "Chariot  Race."  Columns  at  end  of  colon- 
nade, hint  of  Forum.  Greek  suggestion  in  Corinthian  columns 
and  fretwork  and  frieze  around  rotunda.  Roof  garden  or  pergola 
around  edge  of  roof  and  the  Egyptian  red  of  wall  gives  Egyptian 
note.  Suggestion  of  overgrown  ruin ;  atmosphere  of  melancholy 
beauty.  Originality  of  architectural  design  and  treatment. 

Curved  hedge,  obscuring  view  of  floor  of  rotunda  from  op- 
posite side  of  lagoon,  by  John  McLaren.  African  dew  plant,  as 
in  south  hedge.  Laurels  and  willows  were  originally  planned  to 
cover  hedge  and  to  reach  to  top  of  columns.  Monterey  cypress  at 
north  end   of  colonnade. 

Kneeling  figure  on  altar  directlv  in  front  of  rotunda,  "Rever- 
ence," by  Ralph  Stackpole.  Can  be  seen  from  across  pool  only. 

Altar  rock,  planting  grown  down  over  edge  gives  effect  of 
draped  altar  cloth. 

Frieze  on  altar  rock,  below  kneeling  figure,  by  Bruno  Louis 
Zimm,  of  New  York.  Represents  "Source  of  Genius."  In  center. 
Genius;  to  left  and  right,  mortals  seeking  to  approach  genius; 
lions  guard  the  youth.    Seen  from  across  lagoon  only. 

Panels  on  exterior  of  rotunda  just  below  dome,  by  Zimm,  rep- 
resenting progress  and  influence  of  art. 

Eastern  panel,  "Struggle  for  the  Beautiful" ;  in  center.  Truth ; 
at  sides.  Persistence  and  Strength,  struggling  with  centaurs,  sym- 
bols of  materialism. 

[119] 


THE  CITY  OF  DOMES 

Panel  to  left,  "Power  of  the  Arts";  Genius  taming  Pegasus, 
inspiration  in  art;  Wisdom  inspiring  Youth;  Music  with  lyre; 
figures  of  Literature  and  Sculpture.  , 

Panel  to  right,  "Triumph  of  the  Arts";  Apollo,  patron  of 
arts,  in  chariot;  Fame,  with  olive  branches;  Ictinius,  builder  of 
Parthenon,   leads  procession   of   devotees. 

Three  panels,  repeated  on  five  sides  of  rotunda. 

Decorative  figure,  man  and  woman  alternating,  between  panels, 
repeated  around  rotunda. 

Corinthian  columns,  ochre  grouped  with  pale  green  ones ;  cap- 
itals of  burnt  orange. 

Flower  boxes  by  Ulric  H.  Ellerhusen;  women  at  corners. 
Original  plan  was  to  have  vines  from  boxes  droop  over  shoulders 
of  women.  Architect's  purpose  in  attitude  of  women  to  suggest 
sadness  of  art. 

Roman  vases,  eight  or  ten  feet  high  around  colonnade.  Mas- 
sive and  graceful  detail. 

SCULPTURE  OUTSIDE  FINE  ARTS   PALACE 
BEGINNING  AT  NORTHEAST  CORNER  OF  LAGOON 

NORTH  OF  LAGOON 

The  Illustrious  Obscure,  by  Robert  Paine.  (Fountain  on  island 
at  north  end  of  lagoon.) 

Whaleman,  by  Bela  L.  Pratt. 

Garden  Group,  by  Anna  Coleman  Ladd. 

Dying  Lion,  by  Paul  Wayland  Bartlett. 

Garden  Figure,  Nymph,  by  Edmond  T.  Quinn. 

Fragment  of  "Fountain  of  Time,"  by  Lorado  Taft.  Repre- 
senting the  troubled  generations. 

ROADWAY  TO  RIGHT  BEFORE  ENTERING  CIRCLE 
Bird  Fountain,  by  Caroline  Risque. 
The  First  Mother,  by  Victor  S.  Holm. 

CIRCLE  AT  NORTH  END  OF  PERISTYLE 

Mother  of  the  Dead,  by  C.  S.  Pietro.  (Lagoon  side  of  circle.) 

Chief  Justice  Marshall,  by  Herbert  Adams.  (In  walk.) 

Destiny,  by  C.  P.  Dietsch. 

Sundial,  by  Edward  Berge. 

Head  of  Lincoln,  by  A.  A.  Weinman. 

Fountain  Groups,  by  Anna  Coleman  Ladd.  Sun-God  and 
Python,  Water  Sprites,  and  Triton  Babies.  (To  right.) 

Sundial,  by  Gail  Sherman  Corbett. 

Daughter  of  Pan,  by  R.  Hinton  Perry. 

Boy  Pan  with  Frog,  by  Clement  J.  Barnhorn. 

Bondage,  by  Carl  Augustus  Heber.  (Only  feminist  note  in  the 
grounds.) 

[120] 


THE  GENIUS  OF  CREATION,  BY  DANIEL  CHESTER 
FRENCH,    IN    FRONT  OF  THE    MAIN    DOORWAY 
OF    MACHINERY    PALACE.      IT    WAS   ORIGIN- 
ALLY   INTENDED   THAT    THE   GROUP    SHOULD 
BE    PLACED    IN    THE    COURT   OF  THE    UNI- 
VERSE.    THE  FIGURE  OF   INSPIRATION,   WITH 
ARMS    EXTENDED    IN    A    COMMANDING    GES- 
TURE,   IS   SEATED   ON    A    RUGGED   MASS   OF 
ROCK    AND    IS    LOOKING    DOWN    ON    WOMAN 
AND    MAN.     THE   WOMAN    IS   TIMIDLY    REACH- 
ING  OUT   AND  TOUCHING  THE   HAND  OF  THE 
MAN,   WHO    IS   READY   TO   BATTLE   WITH    LIFE. 
THE  SERPENT  AT   BASE   SYMBOLIZES   WISDOM. 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

Saki,  Sundial,  by  Harriet  W.  Frishmuth.  (In  walk.) 

Great  Danes,  by  Anna  Vaughan  Hyatt. 

Young  Diana,  by  Janet  Scudder. 

Flower  Urns,  base  of  building  along  colonnade ;  Greek  figures 
with  garlands.  Ulric  H.  Ellerhusen. 

Wall  of  building  facing  colonnade,  seventeen  feet  high.  Acacia 
blooming  there,  suggesting  over-growth,  relieves  severe  lines  of 
architecture.  Broken  by  small  doors,  at  corners  decorated  with 
spears.  Doors  suggest  Greek  design. 

Corinthian  columns  and  pilasters ;  harmony  of  color,  smoked 
ivory  and  ochre,  with  shades  of  green  in  foliage. 

Urns,  on  the  wall  on  either  side  of  the  doorways  and  in  the 
rotunda,  designed  by  William  G.  Merchant.  Suggested  by  urns  in 
the  Vatican,  Rome. 

NORTH  PERISTYLE  (curved  part  colonnade  north  of  rotunda). 
Maiden  of  the  Roman  Campagna,  by  Albin  Polasek.  (To  left.) 
Fountain :    Duck  baby,  by  Edith  Barretto  Parsons. 
A  Fawn's  Toilet,  by  Attilio  Piccirilli. 
Apollo,  by  Haig  Patigian.  (To  right.) 
The  Scalp,  by  Edward  Berge.  (To  left.) 
Primitive  Man,  by  Olga  Popoff  Muller. 
Youth,  by  Victor  D.  Salvatore.  (To  right.) 
Soldier  of  Marathon,  by  Paul  Noquet.  (To  left.) 
Fountain :  Fighting  Boys,  by  Janet  Scudder. 
Garden. Figure,  by  Edith  Woodman  Burroughs.  (To  right.) 
L'Amour,  by  Evelyn  Beatrice  Longman.  (To  right.) 
Returning  from  the  Hunt,  by  John  J.  Boyle.  (To  left.) 
Boy  with  Fish,  by  Bela  L.  Pratt.  (To  right.) 
The  Centaur,  by  Olga  Popoff  Muller. 
The  Sower,  by  Albin  Polasek. 
Beyond,  by  Chester  Beach.  (By  main  doorway.) 
Aspiration,  by  Leo  Lentelli.  (Over  main  doorway.) 
Pioneer  Mother  Monument,  by  Charles  Grafly.   (Before  main 

doorway.) 

Portrait  of  a  Boy,  by  Albin  Polasek.  (Outside  west  archway.) 
The  Awakening,  by  Lindsey   Morris   Sterling.    (Outside  west 

archway.) 
"Sculpture,"  relief  on  walls  of  west  archway.   Bela  L.  Pratt. 

ROTUNDA,  ENTRANCE  THROUGH  NORTH  ARCHWAY 

William  Cullen  Bryant,  by  Herbert  Adams.  (At  northwest 
archway.) 

Lafayette,  by  Paul  Weyland  Bartlett.  (Center  of  rotunda.) 
The  Young  Franklin,  by  Robert  Tait. 
Princeton  Student  Memorial,  by  Daniel  Chester  French. 
"Architecture,"  relief  by  Richard  H.  Recchia. 
Commodore  John  Barry,  by  John  J.  Boyle. 

[121] 


THE  CITY  OF  DOMES 

"Architecture,"  relief  by  Richard  H.  Recchia. 

Lincoln,  by  Daniel  Chester  French. 

Thomas  Jeflferson,  by  Karl  Bitter.  (Outside  southwest  arch- 
way. ) 

Murals  in  dome  of  rotunda,  Robert  Reid.  Two  series  of 
paintings,  four  in  each,  "Birth  and  Influence  of  Art,"  alternating 
with  "The  Four  Golds  of  California." 

"Birth  of  Oriental  Art,"  panel  on  west  wall,  toward  main 
doorway.  Man  on  dragon  attacking  eagle,  heavenly  bird  of  in- 
spiration.  China,  man  in  bright  robe.  Japan,  woman  with  parasol. 

"Gold,"  panel  to  right,  woman  with  wand ;  sits  on  horn  of 
plenty  pouring  gold. 

"Ideals  of  Art,"  panel  to  right.  Greek  ideal,  nude.  Religion, 
Madonna  and  child.  Heroism,  Joan  of  Arc.  Material  youthful 
beauty,  woman  at  left.  Nature  without  inspiration  or  ideal,  pea- 
cock. Figures  with  wreath  and  palm,  rewards  of  art. 

"Poppies,"  panel  to  right,  second  gold  of  California. 

"Birth  of  European  Art,"  panel  to  right.  Altar  with  divine 
fire,  guardian  with  torch.  Mortal  in  chariot  grasps  torch  of  in- 
spiration. Woman  in  lower  corner  with  crystal  globe,  predicting 
future  of  art. 

"Oranges,"  panel  to  right,  third  gold  of  California. 

"Inspiration  of  Art,"  panel  to  right.  Angels  of  inspiration 
above.  Figures  of  Sculpture,  Architecture,  Painting,  Music,  and 
Poetry. 

"Wheat,"  panel  to  right,  fourth  gold  of  California. 

"Priestess,  of  Culture,"  Herbert  Adams,  of  New  York ;  female 
figure  surmounting  columns  within  rotunda. 

Coloring  of  dome,  burnt  orange,  turquoise  green,  Sienna  col- 
umns. 

SOUTH  PERISTYLE  (curved  colonnade). 

Youth,  by  Charles  Carey  Rumsey.  (To  south  of  doorway.) 

An  Outcast,  by  Attilio  Piccirilli.  (To  right.) 

Idyl,  by  Olga  Popoff  Muller. 

Dancing  Nymph,  by  Olin  L.  Warner. 

Boy  and  Frog,  by  Edward  Berge.  (To  left.) 

Eurydice,  by  Furio  Piccirilli.   (To  right.) 

Wild  Flower,  by  Edward  Berge. 

Young  Mother  with  Child,  by  Furio  Piccirilli.  (To  right.) 

Wood  Nymph,  by  Isidore  Konti. 

Young  Pan,  by  Janet  Scudder,  (To  left.) 

Michael  Angelo,  by  Robert  Aitken.   (To  right.) 

Muse  Finding  the  Head  of  Orpheus,  by  Edward  Berge.  (To 
left.) 

Flying  Cupid,  by  Janet  Scudder. 

Piping  Pan,  by  Louis  St.  Gaudens. 

[  122] 


TOWER   IN   THE  COURT  OF  THE  ACES,   FINE   EFFECT  OF   PLAIN    SURFACE 
CONTRASTED  WITH   RICH   SURFACE.     THE  THREE  CROUPS   REPRESENT 
THE   ASCENT   OF   MAN    FROM    THE    STONE  AGE,    CLOSE   TO  THE    BEASTS, 
TO  THE   CRUSADING   PERIOD  WHEN    HE   FOUGHT   FOR  A   SPIRITUAL 
IDEAL,    AND   TO   THE    PRESENT    CIVILIZATION,    EMBODIED    BY    THE 
FIGURE   OF    A    WOMAN,    INTELLIGENCE,    THE   TORCHES    SIGNIFYING 
THE   LIGHT   OF   UNDERSTANDING.     THE   DESIGN   USED   IN    THE   UPPER 
PART   OF   THE   TOWER    COMES    FROM    THE    PETAL   OF   THE   LILY,    EM- 
BLEMATIC  OF   PURITY.      IN    FRONT   OF  THE   TOWER    STAND   LEO 
LENTELLI'S   TWO   SHAFTS,    "AQUATIC    MAIDS."     THE   ORNAMENTA- 
TION   OF    THE    CLOISTER    CONSISTS   OF    SEA    MOTIVES,    WEAVING    IN 
KELP,   CRABS,   TURTLES,   LOBSTERS,   AND  FISH. 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

CIRCLE  AT  SOUTH  END  OF  PERISTYLE 
Bust  of  William  Howard  Taft,  by  Robert  Aitken.  (To  right.) 
Henry  Ward  Beecher,  by  John  Quincy  Adams  Ward. 
Bust  of  Halsey  C.  Ives,  by  Victor  S.  Holm.  (To  left.) 
Seated  Lincoln,  by  Augustus  St.  Gaudens. 

SOUTH  OF  LAGOON 

Kirkpatrick  Monument,  by  Gail  Sherman  Corbett,  Indian  point- 
ing out  spring  to  Jesuit  priest.  (To  right  on  roadway  running 
back  of  palace.) 

American  Bisons,  by  A.  P.  Proctor.  (Sides  of  roadway.) 

Peace,  by  Sherry  E.  Fry.  (To  left.) 

Diana,  by  Haig  Patigian. 

Fountain:  Wind  and  Spray,  by  Anna  Coleman  Ladd.  (In 
lagoon,  south  end.) 

The  Scout,  by  Cyrus  E.  Dallin. 

Sea  Lions,  by  Frederick  G.  R.  Roth. 

COURT  OF  PALMS 

Court  of  Palms,  by  Kelham ;  opposite  Palace  of  Horticulture, 
between  Palaces  of  Education  and  Liberal  Arts.  Italian  Renais- 
sance.   Sunken  garden. 

Palaces  at  sides  of  court :  to  the  west,  Education ;  to  the  east, 
Liberal  Arts. 

"The  End  of  the  Trail,"  equestrian  statue  at  entrance,  by 
James  Earl  Fraser.  Exhausted  Indian,  suggests  destiny  of  the 
American  Indian  race. 

Italian  Towers,  Byzantine  influence,  by  Kelham.  Both  sides 
of  entrance  to  court;  identical.  Simpler  than  towers  at  Court 
of  Flowers,  to  east. 

Coloring  of  towers,  by  Jules  Guerin.  Walls,  frankly  treated, 
not  as  stone,  but  as  plaster,  after  Italian  method.  Blue  checkered 
border,  pink  and  blue  diaper  design ;  turquoise  columns  on  little 
towers  above,  in  harmony  with  domes  and  columns  of  Tower  of 
Jewels. 

Design  on  top,  repeated  four  times  at  corners,  from  choragic 
monument  of  Lysicrates,  in  Venice. 

Sienna  columns  at  entrances  of  towers.  Effective  contrast. 

Reclining  women,  purely  decorative,  in  triangular  spaces  above 
entrances  to  towers,  by  Albert  Weinert. 

Figures  on  side  of  shield  over  all  portals,  very  graceful.  Pink 
and  turquoise. 

"The  Fairy,"  crowning  Italian  Towers,  Carl  Gruppe. 

Female  figures,  the  caryatides,  on  wide  frieze,  above  columns, 
by  Calder  and  John  Bateman,  of  New  York.  Flushed  pink,  against 
pink  and  blue  background  of  imitation  marble  and  terra  cotta. 

Festoons  of  fruit  in  panels,  blues  and  reds. 

Coupled   Ionic  columns,  smoked.  Effective  against  pink  walls. 

[123] 


THE  CITY  OF   DOMES 

Vases,  before  entrances,  by  Weinert.  Bacchanalian  revels,  low 
relief.    Satyr  handles. 

Lighting  standards  on  balustrade,  designed  by  Ryan,  modeled 
by  Denneville. 

"Pool  of  Reflections,"  no  sculpture. 

Italian  cypresses,  on  sides  of  portals. 

Balled  acacias  between  columns  on  corridors. 

Palms,  in  garden. 

Corridors,  pink  walls,  blue  ceiling. 

Lamp  standards,  smoked  ivory  globes.  Designed  by  Kelham, 
modeled  by  Denneville. 

Lamps  in  corridors,  Roman,  hanging.  Light  pink,  green,  and 
cream;  effective.  By  Kelham. 

Murals,  in  corridors,  at  east,  north,  and  west  portals. 

"Pursuit  of  Pleasure,"  east  arch,  Charles  W.  Hollowa}'.  Light 
touch,  bright  reds  and  blues  in  keeping  with  court ;  difficult  use 
of  floating  figure. 

"Victorious  Spirit,"  north  arch,  Arthur  F.  Mathews.  Spirit 
of  Enlightenment  protecting  Youth  from  MateriaHsm,  symbolized 
by  rampant  horse,  and  the  rider,  Brute  Force.  Arrangement 
good,  coloring  deep  and  beautiful. 

"Fruits  and  Flowers."  west  arch,  Childe  Hassam.  Early  Italian. 
Symbolism,  obvious.    Warmth  of  color. 

Vista  from  south,  graceful  curve  of  court,  view  through  north 
portal  through  Court  of  the  Four  Seasons,  long  colonnade,  to 
purple  hills  and  bay  beyond. 

PALACE  OF  HORTICULTURE 

Palace  of  Horticulture,  Bakewell  &  Brown,  architects,  San 
Francisco. 

Architecture,  dome  and  spires  Byzantine,  suggest  mosque  of 
Ahmed  the  First,  in  Constantinople.  Ornamentation  Renaissance, 
popular  with  modern  French  architects. 

Basket  on  top  of  dome,  32  feet  in  diameter. 

Dome,  186  feet  in  height,  152  feet  in  diameter,  steel  construc- 
tion. St.  Peter's,  137  feet,  concrete.  Pantheon,  142  feet,  concrete. 

Ornamental  shafts,  suggestive  of  minarets,  in  French  style. 

Semi-circular  colonnade  forming  entrances,  French  lattice-work. 

Hanging  lamp,  in  entrances,  flower  basket  design ;  elaborate. 

Lamps,  hanging  along  porches,  simple  design. 

Female  figures  at  base  of  spires,  by  Eugene  Louis  Boutier; 
purely  ornamental. 

Lavish  decorations  on  building  suggest  variety  and  abundance 
of  California  horticulture.  Floral  designs ;  green  wreaths  with 
fruit  motives  and  leaves;  lamps;  flowered  shields  over  doorway; 
decorated  columns;  entrance  under  green  lattice-work;  great 
ornamental  vases  on  sides. 

[124] 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

Female  figures  used  as  columns  supporting  roof  of  porch,  the 
caryatides,  by  John  Bateman. 

Building  suggests  festivity,  done  in  exposition  spirit. 
Coloring,  green,  old  copper.   Green  lattice-work  in  domes. 

ALONG  THE  SOUTH  WALL, 

WEST  OF  THE  TOWER  OF  JEWELS 

South  Wall,  by  Faville.  Spanish  Renaissance.  Domes,  Byzan- 
tine. 

Palaces  facing  Avenue  of  Palms,  from  west  to  east :  Education, 
Liberal  Arts,  Manufactures,  and  Varied  Industries. 

Vases  beside  doorways  of  Palace  of  Education,  finely  designed ; 
pedestal  of  one,  a  Corinthian  capital;  of  the  other,  an  Ionic 
capital. 

.  Main  portals,  Faville.  Suggest  Roman  gateway.  Coloring,  pink, 
turquoise  blue,  and  burnt  orange;  accentuates  sculpture.  Dupli- 
cated on  Palaces  of  Manufactures  and  Liberal  Arts. 

Panel  over  doorway,  by  Mahonri  Young,  Ogden,  Utah ;  figures 
of  domestic  life  and  industries,  making  of  glass,  metal  work, 
statuary,  textiles.  Figures  at  side,  to  left,  woman  with  spindle ;  to 
right,  man  with  sledge-hammer. 

Flat  columns  at  side  of  portals,  pilasters.    Corinthian. 

Lion,  over  centerpiece  of  arch. 

"Victory,"  on  gables,  by  Louis  Ulrich,  like  the  winged  figure 
used  by  the  Greeks,  "Blessings  on  this  house." 

Niches  in  wall,  colored  pink  and  blue.  Heads  of  lions  and  ele- 
phants, used  as  fountains,  alternately,  by  Faville. 

Panel  over  niches,  figures  with  garland,  by  Faville. 

FESTIVAL  HALL 

Festival  Hall,  Robert  Farquhar.  of  Los  Angeles,  architect. 
Modern  French  architecture,  of  the  Beaux  Arts  style.  Paris. 
Used  in  many  Frenrh  theatres;  not  a  natural  growth  in  this 
country,  but  growing  in  favor ;  building  arrangement  ftne.  Details 
from  Le  Petit  ajid  Le  Grand  Trianon.  Coloring,  light  grcf^n,  not 
so  effective  as  on  Horticultural  Palace,  popular  with  French 
architects. 

Figure  on  corner  domes,  "The  Torch  Bearer,"  Sherry  E.  Fry, 
of  New  York. 

Figures  on  sides  of  shield  over  big  central  arch,  by  Fry.  Dec- 
orative.   West  entrance. 

Reclining  figures,  above,  on  sides  of  entrance,  by  Fry.  To  right, 
Bacchus  with  grapes  and  wine-skin.    To  left,  a  woman  listening. 

Groups  in  front  of  hall,  on  sides  of  stairway,  by  Fry.  "Flora," 
flower  girl  on  pedestal,  repeated.  On  left  below  pedestal.  "Young 
Pan,"  seated  on  Ionic  capital  covered  with  fawn  skin,  his  music 
arrested  by  sight  of  lizard.   On  right,  young  girl  seated. 

r  125 1 


THE  CITY  OF  DOMES 

Greek  drinking  horns,  rhytons,  repeated  around  entrance,  on 
cornice,  suggest  festivity. 

Symbol  of  Music,  the  lyre,  above  entrance. 

Recital  Hall,  on  the  second  floor  of  Festival  Hall,  eastern  end, 
contains  fine  stained  glass  windows.  Designer  and  executor, 
Charles  J.  Connick,  of  Boston.  Three  windows,  a  small  one  on 
the  landing  of  the  north  stairway,  and  two  larger  ones  on  the 
west  wall  of  the  hall  itself. 

On  the  stairway.  Figure  of  a  young  monk  bearing  a  scroll 
inscribed  with  "Venite  exultamus  domin"  ("Come,  let  us  exalt 
the  Lord"). 

In  the  hall,  window  to  the  left.  In  the  large  upper  section,  a 
figure  of  St.  Martha  of  Bethany.  Below,  Christ  and  three  women, 
one  kneeling. 

In  the  hall,  window  to  the  right.  In  the  large  upper  section, 
figures  of  two  men,  the  wise  men,  one  watching  the  star,  one 
seated  reading;  an  owl  and  a  lantern  in  the  window  also.  In  the 
small  section  below,  a  ship  with  a  cross  on  the  main  sail;  the 
cross  is  of  the  design  used  in  the  Crusades. 

COURT  OF  FLOWERS 

Court  of  Flowers,  by  Kelham.  Italian  Renaissance,  Byzantine 
touches.  Opposite  Festival  Hall,  between  Palaces  of  Varied  In- 
dustries and  Mines.  Details  diflferent  from  Court  of  Palms ;  orna- 
ment richer. 

Figure  on  tower,  "The  Fairy,"  by  Carl  Gruppe. 

Palaces  at  sides  of  court:  to  the  west.  Manufactures;  to  the 
east.  Varied  Industries. 

Italian  towers,  by  Kelham,  same  feeling.  Outlines  on  top  differ- 
ent from  those  in  Court  of  Palms. 

"The  American  Pioneer,"  equestrian  statue  at  entrance,  by 
Solon  Borglum,  of  New  York.  Patriarchal.  Suggests  Joaquin 
Miller.  Warlike  trappings  of  horse  picturesque,  but  sixteenth  cen- 
tury Spanish,  out  of  place. 

Spanish  loggia  around  second  story  of  court,  southern  in  feel- 
ing, implying  warm  climate. 

"Oriental  Flower  Girl,"  female  figure  in  niches  along  loggia,  by 
Calder. 

Griffons  around  frieze  on  top  of  columns. 

Corridors,  pink  walls,  smoked  olive  columns  with  orange 
capitals. 

Against  wall,  Corinthian  coupled  pilasters. 

Roman  hanging  lamps,  by  Kelham,  suggest  bronze,  great  weight. 
Bronze,  pink,  green,  and  cream.  Italian  bronze  lanterns  suggest 
bhie  eucalyptus. 

Lamp  standards  between  columns,  globe  half  concealed,  by  Kel- 
ham. Charm  of  effect,  improvement  on  those  with  globe  wholly 
visible. 

[126] 


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FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

Conventionalized  lions  in  pairs  at  portals,  by  Albert  Laessle,  of 
Philadelphia. 

Fountain,  "Beauty  and  the  Beast,"  by  Edgar  Walter,  of  San 
Francisco.  Sandals  and  hat  on  woman.  Beast  at  her  feet.  Fauns 
and  satyrs,  piping,  under  circular  bowl.  Frieze  outside  edge  of 
bowl,  lion,  bear,  ape,  and  tiger  repeated ;  playful.  Designed  for 
Court  of  Palms  to  be  seen  from  above. 

Lophantha  trees,  trimmed  four  feet  from  ground,  branching  out 
six  feet  across,  along  walks. 

Vista  through  fairy-like  Court  of  the  Ages  to  Florentine  Tower 
and  blue  sky  beyond,  from  south  entrance  of  Court  of  Flowers. 

ALONG  THE  SOUTH  WALL. 
EAST  OF  TOWER  OF  JEWELS 

Palaces  facing  Avenue  of  Palms,  from  east  to  west :  Varied 
Industries,  Manufactures,  Liberal  Arts,  Education. 

South  fagade  of  Palace  of  Varied  Industries,  by  Faville.  High 
walls,  seventy  feet  in  height,  suggest  eighteenth  century  California 
missions. 

Green  domes  on  corners,  Byzantine,  inspired  by  mosques  of 
Constantinople. 

Coloring  of  flags,  cerulean  blue,  pastel  red.  and  burnt  orange. 

Windows  in  corners,  mosque  design.  Little  hexagonal  kiosks  at 
corners  below  domes,  Moori.sh. 

Central  portal,  after  portal  of  Santa  Cruz  Hosoital,  in  Toledo, 
Spain.  Sixteenth  century  Spanish  Renaissance,  plateresque.  Lat- 
tice-work effect  in  doorway  in  harmony  with  lace-like  silver- 
platter  stvle.    Niche  walls  pink,  with  ultramarine  blue. 

Pope  Calixtus  ITT  sent  for  a  Spanish  goldsmith,  Diaz,  to  do 
work  for  him  in  Rome.  Diaz  returned  to  Spain,  carrying  the 
influence  of  the  Italian  Renaissance.  He  met  the  son  of  the  archi- 
tect of  the  cathedral  at  Toledo,  De  Egas.  To  the  son  he  imparted 
his  knowledge  and  the  son  annlied  it  to  architecture,  creating  the 
plateresque  style.  Till  then  all  Spanish  cathedrals  had  shown  the 
Gothic  influence  from  the  north. 

Figures  on  large  door  by  Stackpole.  Upper  figures,  "Age 
Transferring  His  Burden  to  Youth,"  America.  Figure  in  center 
niece  of  arch.  "Power  of  Industry,"  the  American  workman. 
Figures  in  half  circle  above  door,  "Varied  Industries,"  from  left  to 
right.  Spinning.  Building,  Agriculture,  Manual  Labor,  and  Com- 
merce. Figure  repeated  four  times  in  lower  niches,  "Man  with 
the  Pick." 

"California  Bear"  and  "California  Shield"  on  buttresses,  or 
square  columns  supporting  wall.  Used  in  old  mission  buildings. 

AVENUE  OF  PROGRESS 

Planting,  some  of  the  best  landscape  effects  in  Exposition. 
Against  buildings,  Monterey  cypress ;  banked  by  Lawson  cypress ; 
in  front  and  between  these,  spruces  and  Spanish  fir. 

[127] 


TIIK   CITY   OF    DO.MKS 

Machinery  Palace.  Ward  &  Blohme,  of  Sail  Francisco,  archi- 
tects. Italian  Renaissance,  inspired  by  Roman  baths.  Like  Baths 
of  Caracalla.  Largest  building  of  its  kind  in  world ;  three  blocks 
long,  seven  acres  in  area. 

Banners,  by  Ryan,  heraldic  designs  of  early  Spanish  explorers 
and  soldiers. 

Lophantha  lawn,  designed  by  John  McLaren,  trees  trimmed  off 
four  feet  above  ground,  and  trained  to  grow  flat  alongside  Palace 
of  Varied  Industries. 

East  fagade  of  Varied  Industries,  made  ItaHan  to  harmonize 
with  Italian  Machinery  Palace. 

Main  portal,  like  gateways  of  old  Roman  walled  cities. 

"The  Miner,"  in  niches  of  gateway,  by  Albert  Weinert  of  New 
York. 

Small  portals,  Italian,  fine  color  effect ;  lattice-work,  orange, 
blue,  light  green. 

Sculpture  on  Machinery  Palace,  by  Haig  Patigian,  of  San  Fran- 
cisco. 

Large  columns  in  front  and  in  vestibule  of  half  dome,  imitation 
Sienna  marble. 

Small  portals,  orange  columns  at  sides,  pink  niche,  blue  dome, 
orange  above  dome ;  pleasing  tone. 

Corinthian  columns  at  sides  of  portals ;  eagles  at  corners  of 
capitals,  at  top.  symbolize  inspiration. 

Frieze  around  drums  at  base  of  columns,  "Genii  of  Machinery," 
by  Haig  Patigian  ;  eyes  closed,  signifying  power  of  the  spirit,  or 
blind  fate. 

Figures  in  triangular  spaces  on  either  side  above  doorways, 
".Application  of  Power  to  Machinery,"  by  Haig  Patigian. 

Figures  on  tall  Sienna  marble  columns,  "Power,"  by  Haig  Pa- 
tigian. "Steam  Power,"  with  lever.  "Invention,"  carrying  figure 
with  flying  wings,  suggesting  quickness  of  mind.  "Imagination," 
eyes  closed.  Eagle,  bird  of  inspiration,  about  to  fly.  "Electricity," 
foot  on  earth,  carrying  symbol. 

'  Eagles  repeated  on  bar,  the  entablature,  across  front  of  domes ; 
symbol  of  inspiration. 

Coloring  in  vestibule  of  Machinery  Palace :  Finely  harmonized  : 
brown  and  brick-colored  walls ;  orange  and  blue  ceilings ;  green 
lattice  work. 

"Genius  of  Creation,"  group  before  court  leading  to  Court  of 
.'Xges,  Daniel  Chester  French.  Spirit  above,  a  woman,  creating 
life  from  shapeless  mass  of  earth  below.  Man  at  left,  courageous 
and  enterprising;  woman  at  right,  timid,  hesitating.  Serpent,  sym- 
bol of  wisdom,  coiled  about  mass. 

COURT  OF  MINES,  LEADING  TO  COURT  OF  AGES 

Coloring,  pink  walls,  pink  streamers,  by  Guerin.  Green  shell 
lamp  posts,  by  McKim,  Mead  &  White,  architects.  Called  "Pink 
Alley"  by  workmen  during  construction. 

[1281 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  DAY 

Palaces  on  sides  of  court :  to  the  north,  Mines ;  to  the  south, 
Varied  Industries. 

Lamp  standards  against  walls,  dark  bronze,  smoked  ivory 
globes,  by  Faville. 

Flat  Ionic  columns,  called  pilasters,  against  walls,  by  Faville. 

Figure  in  niches,  "The  Miner,"  by  Albert  Weinert. 

COURT  OF  THE  AGES 

Court  of  Ages,  Louis  Christian  Mullgardt,  of  San  Francisco, 
architect.  Most  original  of  the  courts.  Faint  influence  of  Spanish 
Gothic,  Romanesque,  French,  Moorish.  Richness  and  profusion. 
Suggests  evolution  of  man. 

Palaces  around  court :  northeast.  Mines ;  northwest.  Transpor- 
tation ;  southwest.  Manufactures ;  southeast.  Varied  Industries. 

Decorations  on  columns  of  archways  around  court,  kelp,  crabs, 
lobsters,  and  other  sea  animals.  Vertical  lines  in  columns  suggest 
falling  water. 

Fairy  lamps,  two  in  each  archway,  delicately  designed. 

"Primitive  Man  and  Woman,"  by  Albert  Weinert,  repeated  al- 
ternately above  corridors  around  court.  Man,  a  hunter,  feeding 
pelican.    Woman,  the  child-bearer. 

Tower  at  north  entrance,  suggestive  of  French  cathedral  archi- 
tecture, massive,  but  gives  appearance  of  lightness.  One  of  the 
great  successes  of  the  Exposition. 

"The  Rise  of  Civilization,"  groups  of  sculpture  on  tower,  by 
Chester  Beach.  Central  idea,  evolution.  Stone  Age,  Mediaeval  Age, 
and  Present  Age.  "Primitive  Man,"  lowest  group,  just  above 
great  reptiles  in  foreground.  Man  is  holding  child  and  protecting 
mate.  "Medi.tval  Age"  directly  above,  Crusader  in  center.  Priest 
and  Warrior  on  sides.  The  candlesticks  on  sides  of  crusader, 
used  in  mediaeval  churches,  the  light  of  understanding.  On  sides 
of  altar,  "Modern  Man  and  Woman,"  struggling  for  freedom  from 
the  physical  to  the  spiritual.  "Spirit  of  Intelligence"  enthroned 
above ;  on  one  side,  child  with  book ;  on  the  other  side,  child  with 
wheel  of  industry. 

Chanticleer,  repeated  on  highest  pinnacles  of  court,  at  level 
with  altar.    Sienifying  dawn  of  Christianity. 

"Thought,"  figure  on  east  and  west  sides  of  tower.  Candlesticks 
at  sides. 

Design  on  upper  part  of  tower,  suggested  by  the  lily,  emblem 
of  purity. 

Star  clusters,  at  south  end  of  court  and  in  north  court,  by  Ryan, 
modeled  from  snow  crystal,  and  deepening  the  ecclesiastical  char- 
acter of  the  court  by  suggesting  the  golden  monstrance,  shaped 
like  the  rays  of  the  sun,  used  in  the  Catholic  church  and,  in  the 
small  glass-covered  circle  at  the  center,  holding  the  sacred  host. 

"Water  Sprites,"  by  Leo  Lentelli.  Girl  archers  on  top  of  col- 
umns at  four  corners  of  central  court,  launching  arrow  at  sprites 
on  base  of  columns.   Originally  designed  as  fountains. 

[129] 


THE  CITY  OF  DOMES 

Serpent  cauldrons,  around  pool,  designed  by  Mullgardt. 

"Fountain  of  the  Earth,"  by  Robert  Aitken,  in  center  of  court. 
Two  parts  to  fountain ;  large  central  one  with  globe  representing 
earth,  surrounded  by  panels  showing  life  on  earth ;  and  on  same 
pedestal  to  south,  groups  representing  life  before  and  after  death. 

"Setting  Sun,"  group  at  extreme  south  of  pool,  by  Aitken.  Man 
holding  golden  ball,  Helios;  serpent,  heat  of  sun. 

Figures  on  west  side  of  southern  group,  "The  Dawn  of  Life." 
Hand  of  Destiny  giving  life,  pointing  toward  earth ;  Sleep  of 
Woman  before  Birth  ;  the  Awakening ;  Joy  of  Life ;  Kiss  of  Life ; 
Birth.  Gap  to  central  group  represents  time  between  peopling  and 
history. 

Panels  around  earth ;  South  Panel ;  Vanity  in  center  with  hand- 
glass ;  man  and  woman  with  children,  representing  Fecundity, 
starting  on  earthly  journey. 

West  Panel :  "Natural  Selection ;"  women  turn  to  fittest  male ; 
one  rejected  suitor  angry,  other  despairing. 

North  Panel :  "Physical  Courage"  or  "Awakening  of  War 
Spirit."  Two  men  fight  for  possession  of  woman  on  left.  Woman 
on  right  attempts  to  draw  one  aside. 

East  Panel:  "Lesson  of  Life."  Old  woman  gives  counsel  to 
young  man  and  woman.  Old  man  restrains  an  angry,  jealous 
youth. 

Right  of  south  panel,  "Lust." 

East  side  of  southern  group :  Greed,  looking  back  on  earth. 
Faith  offering  Immortality,  symbolized  by  scarab,  to  Woman. 
Figures  of  man  and  woman  sinking  back  into  oblivion,  "Sorrow" 
and  "Sleep."  Hand  of  Destiny  drawing  mortality  to  itself. 

Hermae,  pillars  with  head  of  Hermes,  god  of  boundaries,  sep- 
arating panels  around  earth. 

Reptilian  and  fishy  forms  above  panels  of  central  mass  of 
fountain. 

Corridors,  walls  red.  blue  vault  above,  arches  of  smoked  ivory, 
lines  of  blue  on  wall.  Illumination  by  half-globes  in  cups  on  inner 
side  of  columns. 

Murals,  by  Frank  Brangwyn,  of  London,  representing  Elements. 
Best  placed  of  all  murals.    At  corners  of  court  in  corridors. 

Northeast  corner,  "Fire."  "Primitive  Fire,"  figures  around  fire 
nursing  it,  or  feeding  it.  "Industrial  Fire,"  use  of  fire  in  service 
of  man. 

Southeast  corner.  "Water" :  Fishermen  dragging  in  net,  carriers 
with  baskets  on  backs,  "The  Net."  Women  and  men  filling  jars  at 
a  spring,  flamingoes  in  water,  luxuriant  growth,  clouds,  "The 
Fountain." 

Southwest  corner,  "Air" :  Men  shooting  arrows  through  trees, 
birds  in  flight.  "The  Hunters."  Huge  mill,  children  flying  kites, 
clouds,  grain  blown  by  wind.  "The  Windmill." 

Northwest  corner.  "Earth":  Men  high  in  trees  and  on  ground, 
"The  Fruit  Pickers."  Figures  crushing  juice  out  with  feet,  group 
in  front  with  wine,  "The  Dancing  of  the  Grapes." 

[130] 


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FEATURES  THAT  OlIGHT  TO  BE  NOTED  BY  NIGHT 

Planting  in  court:  Tall  Italian  cypress  before  arches;  orange 
trees ;  balled  acacia ;  denseness  of  growth  along  colonnades ; 
heavy  and  rank,  suggesting  tropical  flora. 

Large  cauldrons,  at  side  of  steps  leading  down  to  sunken  gar- 
dens, designed  by  Mullgardt. 

NORTH  ENTRANCE  TO  COURT  OF  AGES 
"Daughter  of  Neptune"  or  "Aquatic  Life,"  large  female  figure 

in  north  Court  of  Ages,  by  Sherry  E.  Fry. 
Planting:  eucalyptus,  acacia,  laurel. 

FEATURES  THAT  OUGHT  TO  BE 
NOTED  BY  NIGHT 

ILLUMINATION 

Three  kinds  of  light  used ;  white  arc  lamps,  extensively  behind 
banners  and  shields  to  flood  fagades  of  outer  walls  and  Court  of 
Four  Seasons ;  warmer  light  of  Mazda  lamps  in  clear  and  colored 
globes;  and  scarchhghts  concealed  on  tops  of  buildings  trained 
on  towers  and  on  high  groups  of  sculpture. 

Lighting  scheme  and  scope  completed  long  before  buildings 
were  up;  made  possible  by  advance  in  illuminating  engineering, 
developed  under  name  of  science  of  lighting  and  art  of  illumina- 
tion. 

Chief  of  Department  of  Illumination,  Walter  D'Arcy  Ryan,  of 
the  General  Electric  Company,  Schenectady,  New  York ;  field 
assistant,  A.  F.  Dickerson. 

Ornamental  details  of  lighting  standards  and  fixtures,  designed 
by  J.  W.  Gosling;  designs  made  at  Illuminating  Engineering 
Laboratories,  Schenectady. 

Keynote  of  lighting  scheme — life  and  gaiety,  without  garishness. 

Lighting  kept  subordinate  to  architecture ;  walks  shaded  to 
throw  emphasis  on  brilliantly  lighted  facades  and  to  bring  out 
architecture,  landscape  and  flowers.  Same  lighting  principle  used 
throughout;  Init  eflfect  in  different  courts  radically  different. 

Area  of  surface  illuminated,  8,000,000  square  feet ;  2,000,000  of 
wall  surface,  and  6,000,000  of  ground  surface. 

Number  of  searchlights  used :  ^y^  arc  searchlights,  in  diameter 
from  13  to  36  inches;  450  small  searchlights,  called  the  "Mos- 
quito Fleet";  250  incandescent  projectors  for  flag  lighting. 

FILLMORE  STREET  ENTRANCE 

South  facade  of  entrance,  outline  illumination,  with  bare  electric 
lights  following  outlines  of  architecture ;  used  elsewhere  only  in 
Zone. 

Inside  Fillmore  Street  entrance,  Zone  to  right ;  brilliant  light- 
ing, outline  illumination,  more  or  less  refined;  exaggerated  effects 
prohibited. 

[1311 


THE  CITY  OF  DOMES 

Zone,  element  of  festivity  in  arches  crossing  street  at  short 
intervals,  ribbons  of  turkey  red  suspended  from  each  lamp  give 
warmth  and  action. 

Contrast  of  Zone  lights  with  illumination  in  other  parts  of 
Exposition. 

To  left,  Service  Building,  administration  offices ;  coloring,  pinks 
and  blue;  ceiling  of  porch,  intense  blue,  deepest  used  on  grounds. 

Corner  of  Avenue  of  Palms  and  Avenue  of  Progress :  lights, 
banners,  towers,  fagades  of  buildings,  walks,  flood  lights,  spots  of 
light  and  color. 

Fairy-like  effect  of  Avenue  of  Palms :  towers  look  luminous ; 
in  early  evening  Italian  Towers  red  hot,  throbbing ;  glow  stronger 
than  Tower  of  Jewels;  later,  Tower  of  Jewels  most  brilliant 
spot  on  avenue. 

Tower  illumination,  floods  of  light  from  searchlights ;  white 
light  creates  shadows,  in  turn  illuminated  by  concealed  colored 
light  on  various  stages,  on  Tower  of  Jewels  and  Italian  Towers. 

Single  light  standards  along  Avenue  of  Palms,  light  yellow, 
dull  points  of  light ;  contrast  with  white  pearly  light  on  tops  of 
booths. 

AVENUE  OF  PROGRESS 

Along  Avenue  of  Progress :  fine  flag  display ;  no  direct  sources 
of  Hght;  banners;  beautiful  scenes  made  by  planting  against 
walls  and  quality  of  green  on  lawn ;  daylight  effect  from  luminous 
arcs  which  produce  whitest  artificial  light  in  use. 

Gas  lights  on  tops  of  booths,  emergency  lights  if  electricity 
fails. 

Banners  and  heraldic  shields,  designed  by  Ryan;  banners,  of 
early  explorers  and  pioneers,  heraldic  shields  related  to  history 
of  California,  Mexico,  Central  America,  and  Pacific  Ocean. 

Purpose  of  banners :  to  form  beautiful  lines  of  color,  to  screen 
eyes  from  direct  light  source,  to  reflect  light  toward  buildings, 
and  to  suggest  history  of  court. 

Banners  suspended,  swung  by  wind,  form  moving  spots  of  color. 

Roman  gateway.  Palace  of  Varied  Industries:  faint  light 
through  small  arches  above  doorway;  delicate  green  lattice  or 
grill  work  in  door. 

Light  in  doorways :  appearance  of  life  within,  produced  by 
reflectors  inside  palaces  throwing  light  through  glass  of  doors ; 
new  idea ;  contrast  with  dark  windows  of  other  expositions. 

Arches  of  Machinery  Palace :  warm  red  glow  in  domes  above ; 
strong  yellow  through  doors  below. 


[  132] 


"the  fbuit  fickers,"  one  of  the  two  "earth" 
murals  by  frank  brangwyn,  in  the  cloister  of 
the  court  of  the  aces.    the  composition  is  re- 
markably fine,  with  the  sweep  of  the  figures 
from  the  upper  part  of  the  canvas  at  the  left 
to  the  group  at  the  base.   the  pose  of  the  figures 
is  skilfully  indicated,  though  the  outline  of 

THE    boy's    FIGURE   TO   THE    RIGHT    IS    EXAGGERATED   FOR 
DECORATIVE   EFFECT.     THE   TWO   WOMEN,    ONE    HOLDING 
THE    BABE    AND    THE    OTHER    LOOKING   ON,    ARE    PARTICU- 
LARLY  INTERESTING. 


FEATURES  THAT  OUGHT  TO   BE  NOTED  BY  NIGHT 

INNER  COURT  OF  MINES  LEADING  FROM 
PALACE  OF  MACHINERY  TO  COURT  OF  AGES 

Illumination  strongest  on  upper  sections  of  wall ;  it  becomes 
more  subdued  as  it  approaches  flowers  and  lawns,  and  reaches 
lowest  point  on  center  of  avenue ;  plan  used  on  all  avenues. 

Green  lattice  work,  filling  entire  main  doorway,  in  harmony 
with  lawns. 

Single  globe  lamps  placed  against  walls ;  only  court  with  lights 
in  this  position. 

Shell  lamps,  flooding  walls  with  light,  advanced  method  of 
wall  illumination. 

View  of  central  fountain  in  Court  of  Ages :  glow  of  red  lights, 
faint  shimmer  in  pools,  steam  rising  to  suggest  the  earth  cooling 
after  being  thrown  off  by  the  sun. 

COURT  OF  THE  AGES 

Court  of  the  Ages :  mystery  in  blending  of  illumination  from 
searchlights  above;  lack  of  direct  illumination  on  court  itself; 
steam  cauldrons,  with  illumination,  incandescent  lights,  gas 
torches  in  small  serpent  cauldrons,  lanterns  in  arches  of  the 
arcade  that  burn  around  cloister. 

Fountain  of  Earth  in  center  of  pool,  carrying  mind  down  the 
ages  to  correspond  with  architect's  conception  of  court. 

Steam  rising  from  base  of  fountain ;  figures  silhouetted  in 
warm  red  glow ;  lighter  tone  of  red  at  upper  portion  of  ball ; 
shimmering  reflection  of  panels,  with  red  background  in  pool 
at  sides  of  fountain. 

Serpent  cauldrons,  around  edge  of  pool,  to  heighten  weird 
effect,  by  the  flickering  of  the  gas  lamps. 

Large  cauldrons  at  east  and  west  entrances ;  eft'ect  of  sim- 
mering molten   liquid. 

Steam  used  in  court,  obtained  from  twenty  horse-power  boiler 
under  tower. 

Main  tower,  only  tower  without  direct  light  thrown  on  ex- 
terior ;  religious  feeling,  increased  by  candlesticks,  two  on  each 
side ;  steam  to  suggest  smoke  drifting  upward. 

Reflection  of  tower  in  pool,  to  be  seen  from  south. 

Cathedral  appearance  of  windows  at  sides  of  court,  by  illumina- 
tion in  warm  orange  tone  from  within. 

Sunburst  standards  modelled  in  imitation  of  snow  crystal,  and 
resembling  monstrance  used  in  Catholic  church ;  two  at  south  of 
court;  only  large  light  sources  in  court;  contrast  with  other 
illumination. 

Two  fairy  lanterns  in  each  arch  around  court. 

Brangwyn  murals  lighted  without  glare  by  indirect  diffusion 
from  four  corners. 

Play  of  lights  along  colonnade ;  lighting  on  murals  adds  to 
apparent  distance. 

[  133] 


THE  CITY  OF   DOMES 

NORTH  ENTRANCE  TO  COURT  OF  THE  AGES 

Similar  treatment  of  lights,  brighter  than  in  central  court; 
four  star  clusters,  sixteen  serpent  cauldrons;  effect  heightened. 

Tower,  more  beautiful  from  Marina  side;  note  of  refinement; 
illumination  in  altar,  shadow  in  two  colors,  created  by  red  light 
illuminated  by  pale  amber  lights. 

Star  clusters  convey  to  mind  religious  feeling  in  keeping  with 
design ;  cathedral  effect. 

View  of  Italian  Towers  at  sides  of  Court  of  Flowers,  from 
north  court,  red  glow  and  green  columns  of  towers  on  either 
side  of  Mullgardt  tower,  vivid  contrast. 

To  Court  of  the  Universe,  through  Florentine  Court. 

FLORENTINE  COURT 

Florentine  Court;  only  illumination,  single  lamp  standards; 
contrast  with  intense  light  in  Court  of  Universe,  beyond. 

Fine  shadow  effects  against  walls ;  vertical  shadows  of  columns 
in  arches  contrasted  with  shadows  of  trees  and  shrubbery. 

COURT  OF  THE  UNIVERSE 

Arch  of  Rising  Sun;  light  through  latticed  windows  in  arch  to 
give  faint  spots  of  luminous  color. 

Illumination  of  main  and  side  arches;  curvature  preserved 
and  details  thrown  into  relief  by  lights  of  different  strengths  and 
colors ;  concealed  red  light  on  one  side  and  pale  lemon  light 
on  other  side  thrown  on  arch.  All  main  arches  similarl}'  accent- 
uated. 

Urns  in  side  arches,  effect  heightened  by  lights  thrown  from 
sides,  bring  out  lines ;  red  on  one  side,  on  the  other  pale  green. 

Colonnade,  illuminated  by  three  translucent  shell  cups  sunk  into 
central  groove  of  each  column  at  rear ;  spear  of  light  from  each 
shell  up  the  grooves  or  fluting ;  pleasant  glow  through  shells  from 
below.  Effect  of  melted  gold,  suggesting  the  tongues  of  fire  men- 
tioned in  the  Scriptures. 

Sculptural  groups  on  Arches  of  Rising  and  Setting  Sun,  flooded 
with  light  from  searchlights,  creating  black  shadows,  in  turn  il- 
luminated by  purple  lights  on  top  of  arch.  Figures  thrown  into 
relief. 

Tower  of  Jewels,  gradual  illumination ;  early  evening,  faintly 
lighted ;  later,  when  searchlights  are  turned  on,  tower  dominates 
southern  wall;  blaze  of  white  light;  jewels  sparkle  like  diamonds; 
turquoise  columns,  faintly  colored  in  bright  light;  statues,  orange 
color. 

Star  figures  around  court  above  colonnades,  jewelled ;  each  has 
forty-two  stones,  illuminated  by  small  searchlights  on  opposite 
side  of  court.  Early  evening,  pretty  effect ;  little  jets  of  light  from 
figures  shoot  across  the  court  in  clearly  defined  rays.  Later,  flood 
of  lights  from  columns  in  court  above  the  small  rays. 

[134] 


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FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  NIGHT 

Fountains  of  Rising  and  Setting  Sun ;  columns,  said  to  be 
strongest  light  sources  ever  created ;  aggregate  500,000  candle- 
power,  sufficient  to  illuminate  500,000  square  feet  of  surface; 
fluting  of  columns  glazed  with  special  diffusion  glass.  For  ehm- 
ination  of  shadows  caused  hj'  structure,  there  is  diffusive  glass 
inside.  The  glare  from  the  light  source  is  not  excessive;  brill- 
iancy low  ;  daring  illumination  of  entire  court. 

Lights  under  water  in  pools  of  fountains;  source  and  reflection 
concealed;  yellow  iight  diffused  over  surface. 

Figures  on  pedestals  of  balustrades  mark  boundary  of  Sunken 
Garden ;  not  for  illumination,  but  for  ornament  merely. 

Domes  of  corner  pavilions,  north  of  Tower  of  Jewels,  fme  con- 
trasts in  interior;  delicate  blue  ceihng;  orange  at  sides. 

Bear  fountains  at  sides  of  Palaces  of  Manufactures  and  Liberal 
Arts,  north  of  Tower  of  Jewels;  three  on  each  wall  in  flat  niches; 
coloring,  pink  wall,  turquoise  blue,  green;  lights  concealed  under 
water ;  when  water  is  flowing,  wavering  light  like  heat  waves ; 
niches  hardly  noticeable  when  water  is  not  flowing. 

Tower  of  Jewels,  interior  of  main  arch,  accentuated  by  lights  at 
sides  above  columns;  no  illumination  on  murals. 

In  niches  at  either  side,  F'ountains  of  Youth  and  El  Dorado, 
flood-lighted  from  above ;  no  colored  lights ;  two  single  lamp 
standards  in  each  court;  reflection  of  fountain  figures  in  pools. 

ON  THE  WAY  TO  THE  MARINA 

Lighting  of  colonnades,  vivid  pinks  and  blues.  Illumination  in 
colonnade  from  lamps  concealed  in  cups  in  one  of  the  inner  flutes 
of  each  column.    Notice  reflections  of  colonnade  in  pool. 

Column  of  Progress ;  flood  light  on  figures  on  top  of  column 
by  searchlights. 

ON  THE  MARINA 

North  fagade  of  buildings,  tall  dark-green  planting  against  walls, 
black  vertical  shadows ;  shading  of  lawn ;  flood  light  standards, 
spots  of  dull  orange  light  through  translucent  rigid  shields.  Spots 
of  light  from  single  globes  along  avenue,  on  water  front,  white 
lights  on  l)ooths ;  glow  from  lamjjs  at  entrance  to  Court  of  Four 
Seasons. 

Spanish  doorway  of  Palaces  of  Food  Products,  Agriculture, 
Transportation  and  Mines,  among  most  successfully  illuminated 
portals  on  grounds ;  light  pink  walls  in  two  shades,  light  blue 
vaulted  ceiling,  green  edges;  three  arches;  light  green  lattice 
work;  dark  shadows  in  niches  of  "Conquistador"  and  "Pirate." 

"Adventurous  Bowman,"  profile  view  of  group  from  entrance  to 
Court  of  I'our  Seasons ;  outlined  against  blue-black  sky ;  stars,  in 
sky  about  it,  mere  points  of  iight.  Group  sometimes  reproduced 
in  the  fog. 

r  135 1 


THE  CITY  OF   DOMES 

VENETIAN  COURT 

Inner  Court,  between  Court  of  the  Universe  and  Court  of  Four 
Seasons. 

Only  illumination,  single  globe  standards.  Contrast  of  bright 
illumination  in  Court  of  Universe  with  more  subdued  light  in 
Court  of  Four  Seasons. 

Coloring,  pink  walls  in  harmony  with  walls  of  corridors  in 
courts  at  either  end. 

Planting,  low  shrubbery,  with  tall  trees  massed  in  corners. 

COURT  OF  THE  FOUR  SEASONS 

Court  of  Four  Seasons;  flood  illumination  on  the  bulls  at  sides, 
glowing  half-dome  at  south,  figure  of  "Harvest"  above  dome,  and 
twin  Italian  towers  at  sides. 

Illumination  of  court  in  harmony  with  architecture,  very  quiet. 

Charm  of  lighting  in  colonnades  against  Pompeian  red  walls; 
three  half  globes  in  cups  at  rear  of  plain  columns. 

Fountains  of  Four  Seasons,  illumination  of  red  walls  against 
intense  blue  of  sky,  in  early  evening  like  color  in  paintings  by 
Maxfield  Parrish.  Concealed  lights,  red,  orange,  yellow  and 
lemon,  fall  on  walls  and  create  interesting  luminous  shadows  on 
fountain  figures. 

Water  falling  from  cascades,  a  luminous  green ;  not  only  are 
lights  concealed,  but  also  reflection  of  sources,  an  effect  that, 
it  was  predicted,  could  not  be  achieved. 

Figures  on  fountains  reflected  in  green  water. 

Reflections  in  pool  in  center  of  court ;  from  north,  half  dome 
and  figure  of  "Harvest"  above  dome ;  from  south,  the  bulls  on 
the  pylons. 

View  through  north  court  toward  bay,  from  half-dome,  very 
interesting;  intense  white  light  of  scintillator  directly  opposite 
court;  statute  of  "Ceres,"  silhouetted  against  rays. 

Banners  in  court,  no  heraldic  designs. 

Half  dome  in  Court  of  Four  Seasons ;  even  distribution  of  light, 
ceiling  lighted  from  base  of  dome,  lights  diffused  through  dome 
and  softly  graded  down  to  floor  by  ten  shell  lamps  up  wall,  back 
of  vertical  projection  on  each  side. 

Through  Aisle  of  Spring  to  .A.dministration  Avenue,  facing- 
Palace  of  Fine  Arts. 

ALONG  THE  WESTERN  WALL 

Illumination :  Yellow  glow  from  single  lamp  standards  along 
Administration  Avenue.  Searchlights  on  top  of  wall,  flooding 
Palace  of  Fine  Arts.  Wall,  lighted  by  reflection  from  shields ; 
orange  light  through  translucent  portion  of  shields. 

High  wall  flooded  with  light,  in  strong  contrast  with  dark  rip- 
pling surface  of  lagoon  across  the  avenue. 

[136] 


FEATURES  THAT  OUGHT  TO  BE  NOTED  BY  NIGHT 

Half-domes ;  warm  golden  glow ;  light  from  interior  through 
stained  glass  windows  in  domes. 

Planting,  trees  cast  tall  vertical  shadows  against  wall;  heavier 
shadows  at  base,  from  massed  shrubbery. 

PALACE  OF  FINE  ARTS 

Illumination,  "triple  moonlight,"  three  times  the  strength  of 
the  moon's  rays.  Searchlights  flood  the  building;  concealed 
yellow  lights  on  cornices  in  rear  of  columns.  Three  effects ;  flood 
lighting,  relief  lighting,  and  combination  of  both.  One  night, 
flood  light ;  next,  combination. 

View  from  Administration  Avenue  across  lagoon ;  finest  re- 
flections on  grounds;  changing  views;  small  sections  of  lagoon, 
mirror-like;  others,  rippled  or  wavering;  entire  colonnade  and 
rotunda  reflected. 

Suggestion  of  ancient  ruin,  intended  by  architect,  brought  out 
by  lighting.   Great  shadows,  deepening  toward  base  of  columns. 

Contrasted  colors  in  colonnade,  from  across  lagoon ;  pink  walls, 
dark  green  doors,  columns  silhouetted  against  walls. 

IN  THE  COLONNADE,  ENTERING  FROM  NORTH 

"Triple  moonlight,"  bright  rays  across  colonnade  through  col- 
umns, making  intense  shadows ;  when  moon  is  .shining  the  fainter 
rays  cut  weirdly  through  shadows ;  suggestion  of  moonlight 
coming  from  two  directions. 

Reflections  in  lagoon,  from  along  colonnade,  north  of  rotunda ; 
west  facade  of  walled  city,  with  half  domes  of  Palaces  of  Educa- 
tion and  Food  Products,  and  dim  reflections  of  Italian  towers. 
Changing  reflections  all  along  colonnade,  and  from  rotunda. 

Rotunda,  on  nights  when  relief  illumination  is  used,  lights  on 
capitals  of  Corinthian  columns ;  deep  color  effects  in  murals  on 
dome. 

View  of  palace  from  south  across  lagoon,  with  flood  lights  on 
rotunda  and  colonnade. 

AVENUE  OF  PALMS 

Quality  of  light  brings  out  color  detail ;  fine  display  of  flowers ; 
massing  of  shrul)bcry  at  base  of  wall,  and  tall  trees  casting 
vertical  shadows. 

Elephant  and  lion  fountains  along  south  wall ;  colors,  pink  and 
blue ;  rippling  of  water  causes  light  to  wave. 

Central  doorway  of  Palace  of  Liberal  Arts,  rosetta  or  rose- 
window  effect  in  semi-circular  space  above  door;  orange  light 
through  lattice  work  of  door. 

COURT  OF  PALMS 

Court  of  Palms,  illumination  of  towers  from  searchlights.  Only 
direct  light,  from  single  white  globes  painted  to  imitate  Traver- 

ri37i 


THE  CITY  OF   DOMES 

tine,  and  Roman  hanging  lamps  around  in  corridors ;  faint  red 
shines  through  from  below. 

Reflections  in  circular  and  rectangular  pools ;  north,  east,  and 
west  portals ;  the  columns,  the  colonnades  at  sides  of  entrances, 
the  murals  above  doorways ;  pinks,  blues,  reds,  orange. 

Murals  above  east,  west,  and  north  doorways,  best  effect  at 
night.  Illumination  at  base  of  arches  throws  light  on  upper 
part  of  mural,  shading  softly  and  gradually  down  to  base. 

PALACE  OF  HORTICULTURE 

Dome  of  Palace  of  Horticulture ;  beams  of  light  from  concealed 
searchlights  play  through  revolving  lenses  and  color  screens  of 
green,  orange,  and  red,  fading  slowly  into  each  other  in  moving 
designs  on  glass  dome. 

Floral  hanging  lamps  in  east  and  north  entrances ;  deep  green 
of  lattice  work  in  domes  above;  hanging  lamps  along  porches, 
pearl-white    light. 

SOUTH  GARDENS 

French  lighting  standards,  pale  yellow  light,  hundreds  of  Tra- 
vertined  globes,  soft  light,  unique  ivory  color. 

Clusters  of  lights,  look  like  bunches  of  grapes. 

Reflections  in  pools  north  of  Young  Women's  Christian  Asso- 
ciation  Building  and  Press  Building. 

Flood  lights  on  equestrian  figure  in  Fountain  of  Energy. 

COURT  OF  FLOWERS 

No  searchlights,  no  direct  illumination ;  suggestion  of  dimness 
and  seclusion. 

Italian  towers,  glow  of  light  through  small  doors  above  en- 
trances; appearance  of  life  inside;  strong  red  shadows  on  first 
lift;  turquoise  columns  on  next  lift,  pink  background. 

Lamps  in  corridors,  Italian  and  Roman ;  translucent,  dull  red 
light. 

Floral  lamp  standards  between  columns  in  corridors,  pale 
yellow  light. 

Flood  light  shields  at  south  entrance  to  court ;  too  bright  neces- 
sarily. 

FESTIVAL  HALL 

Reflection  of  Festival  Hall  in  pool;  Fountain  of  the  Mermaid 
silhouetted  against  entrance  window  of  hall;  golden  light  through 
colored  glass. 

Warm  pink  illumination  inside  towers  at  corners  of  large  dome ; 
green  coloring  of  dome,  more  effective  than  by  day. 

Blending  of  lines  of  building  with  planting  against  walls. 


ri38i 


"THE    THIRTEENTH    LABOR    OF    HERCULES, 
THE   OFFICIAL  EXPOSITION    POSTER,   BY 
PERHAM    W.    NAHL,    AN    INSTRUCTOR    IN    THE 
CALIFORNIA    SCHOOL    OF    ARTS    AND    CRAFTS, 
AT   BERKELEY.    A    GRAPHIC    REPRESENTATION 
OF   THE    IRRESISTIBLE    POWER   OF    MODERN 
SCIENTIFIC   ENGINEERING,    TEARING    APART 
THE    LAND    BETWEEN    THE    ATLANTIC    AND 
PACIFIC  OCEANS   ON    THE    ISTHMUS  OF 
PANAMA.     ONE   OF    THE    MOST    IMAGINATIVE 
AND   ORIGINAL   OF  ALL   THE  ARTISTIC    CON- 
CEPTIONS  INSPIRED  BY  THE  BUILDING  OF 
THE  CANAL. 


INDEX 


"Abundance,"  by  Jaegers,    ii6. 
"Abundance,"  by  Harley,  67,  119. 
Acanthus   design,   origin   of,   40-41. 
Adams,  Herbert,   14,  71,   120,  122. 
Administration   Avenue,    118,    :36. 
"Adventurous  Bowman,"   51,   65, 

103,    114,    135. 
"Age   Transferring   His   Burden   to 

Youth,"    127. 
Aitken,   Robert,   14,  48,  87,  88,   113, 

122,   123,   130. 
Andrassy,  Julius,  27. 
"Angel    of   Peace,"    no. 
"Application    of    Power    to    Machin- 
ery,"  128. 
Arch  of  Rising  Sun,  45,  49,   no, 

134- 
Arch  of  Setting  Sun,  45,  55,  no, 

134- 
Arch  of  Tower  of  Jewels,   109,   135. 
Architects  of  Exposition,  _6._ 
Architecture  of  the  Exposition,  6-10, 

20-22. 
"Architecture    of    Marcus    Vitruvius 

Pollis,"  41. 
Architecture,  origin  of,  54. 
"Aspiration,"  69,   121. 
Avenue  of  Palms,   108,   132,   137. 
Avenue  of  Progress,  82-83,  86,   127, 

132- 

"Bacchus,"  81,    125. 
Bacon,  Henry,  6,  14,  57-60,  115. 
Baker,   Asher  C,   23-26. 
Bakewell  &  Brown,  107,   124. 
Balboa,    \'asco   Nunez  de,   i, 

42,   S3,    108. 
Hancroft,  Milton,  59,  117. 
FJanners,    132. 
Barnhorn.  Clement  J.,  120. 
Bartlett,  Paul,  68,  70,   120,   121. 
Bastides,   Rodrigo  de,  108. 
Bateman,  John,    123,    125. 
Baths  of  Caracalla,  adaptation  of, 

57.  83. 
Beach,  Chester,  65,  89,  121,  129. 
"Bear"   Fountains,    no. 
Bennett.  E.  H.,  7. 
Berge,  Edward,  121,   122. 
Bernini.  44. 
Besnard,    Albert,    26. 
"Birth  of  European  Art,"  70,   122. 
"Rirth  of  Oriental  Art,"  70,   122. 
Bitter,   Karl.    13,   172. 
Bliss  &  Faville,  12,   107. 
Borcklin,  61.  105,   119. 
Borglum,  Solon,  79,  126. 
Bourne,  W.   B.,  2. 
Routier.  E.  L.,   124. 
Boyle,  John  J.,   121. 
Brangwyn,  Frank,   18-19,  92-100, 
'30,   133- 


Brown,  Arthur,  6. 

Brunelleschi,  architect,  73  . 

Bufano,   B.,   no. 

Bullshead,  use  of,  in  Exposition,  40, 

54,    57,   69,    109,    n6. 
Burroughs,   Edith  Woodman,   14,  42, 

109,    121. 
"Burden  Bearers,  The,"  114. 

Cabrillo,  Juan  Rodriguez,   109. 
Calder,  A.  Stirling,  13-16,  34,  35,  37, 

44.  45.  79.  103.  107,  no,  ni,  112, 

123. 
California   Building,   53,    114. 
"California  Bear,"   127. 
Calixtus,  III,  Pope,  127. 
Callimachus,  originator  of  acanthus 

design,  41. 
Canephori,    n3,    135. 
Carrere  &  Hastings,  6,  108. 
Carroll,   B.  H.,  27. 
Catholic  church,  monstrance  of, 

used,  90,    129. 
Cauldrons,  131,  133. 
Centennial  Exposition,  plan  of,   17. 
"Ceres,"  59,  117,  136. 
Cervantes,   112. 
Champney,  E.  F.,  107. 
Chicago  Exposition,  plan  of,   17. 
China,  participation  in  Exposition, 

22,    28. 
"Cleopatra's  Needle,"  39,  46,  47, 

109,  in. 
Columbus,  Tower  of,  planned,  53. 
Column  of  Progress,   14,    16,   17,   51, 

52,   n4,  135. 
Columns,  kinds  used,  40,  57,  58. 
Confucius,  no. 
Congressional   Committee,  decision 

of.  3. 
Connick,   C.    J.,   81.   82,    126. 
Connick.  H.  f)..  5.  6,  107. 
"Conquistador,"  52,   114. 
Corbett,  G.  S.,   120,  123. 
Cortez,  equestrian  statue  of,  39,   108. 
Court  of  Abundance.  88. 
Court  of  the  Ages,  53,  74,  86-91, 

104,    129.    133.   134- 
Court  of  Flowers,  79,  80,  138. 
Court  of  the  Four  Seasons,  53,  54, 

57-60,  88,  104,   136. 
Court  of  Honor,  45. 
Court  of  Mines,  86,   128,   129. 
Court  of  Palms,  78,  79,  123,  124, 

137-138. 
Court  of  Sun  and  Stars,  14,  45. 
Court  of  the  Universe,  14,  45,  103, 

134.   US- 
Crocker,  W.  H.,  2. 
Cummings,  Earl,  65,   118. 
Curlett,  William,  6. 


[  139] 


iNDEX 


"Dancing  Girls"  and  "Music," 

48,   112. 
Dante,  115. 
Dallin,  Cyrus  E.,   123. 
De  Egas.  Spanish  architect,  82. 
Denneville,  P.   E.,   10,  3s.   107,   124. 
Dickerson,  A.  F.,  131. 
Dietsch,  C.  P.,  120. 
Dodge,  W.  DeL.,  42,  109. 
Dome,  origin  of,  73. 
Dome  of  Philosophy,  65-66,  119.  136. 
Dome  of  Plenty,  65-66,   118,   136. 
Donatello,   58,  73. 
Donnelly  &  Ricci,   116,   117. 
Du  Mond,  F.   V.,   55-56,   112. 
Duomo,  anecdote  relating  to,  73. 

Eagles,    use   of    in    Exposition,    40, 
loi,    116,    128. 

"Education,"   Ji8. 

Esryptian  art,  influence  of,  68. 

"Elements,"  48,    113. 

"Electricity,"   128. 

Elephants,    use    of    in    Exposition, 
4i,    no,    125,    137. 

F.llerhusen.   Ulric  H.,   121. 

"End  of  the  Trail,"  78.   123. 

Eneland.  indifference  of,  toward 
Exposition,  22. 

Europe,    attitude   of,    toward   Exposi- 
tion.  22-23,   25. 

Expenditures,   3,   4,    5,    14. 

Farouhar.   Robert,   6,    107,    125. 
"Fairy.  The."   123. 
"Fame"   and   "Valor,"   16,    107. 
Faville,  W.  B..  6.  12,  36.  56,  64.  82. 

104,   107.    108,    115,    118,    119,    12;, 

127. 
"Fepst  of  the  Sacrifice,"  57,   116. 
Festival   Hall,    33,    77,   81,    107,    138. 
Fillmore  Street  entrance.  36,   131. 
Firdausi,    in. 
Flanagan.    Tohn,    108. 
"T^lora."  81.   125. 
T^lorentine   Court.    134. 
Flower  boxes    120. 
"Flower  Girl  "  80.   126. 
Fountain  of  Beauty  and  the  Beast, 

80.  127. 
Fountpin  of  Ceres,   %ci,   117,    136. 
Fountain  of  Farth.  86,  87,  130,  i33- 
Fountain  of  Fl  Dorado,  43,  109.  131;. 
Fountain  of  Energy,   16,   34.   37.   38. 

107,    138. 
Fountain   of   the    Mermaid,    37,    107, 

138. 
Fountain   of  Rising   Sun,   47,    113. 

135- 
Fountain  of  Setting  Sun,  47.   1x3, 

135- 
Fountain  of  Youth.   12.  43,  100,  135. 
Fountains   of   the    Seasons,    58,    117, 

1.36. 
France,  attitude  of.  regarding 

Exposition,  23-25. 

[ 


Eraser,  J.  E.,  14,  78,   123. 
French,   D.   C,   14,   121,   128. 
Frishmuth,  Harriet  W.,  121. 
"Fruits  and  Flowers,"  79,   124. 
Fry,  Sherry  E.,     81,  91,   123,   125, 
131. 

Gallen-Kallela,   Axel,    27. 

Garnett,  Porter,    108,    109,    iio,    iii. 

lis- 
Gerlach,  Gustave,   118. 
Germany,   indifference  of,  toward 

Exposition,  22,   28. 
Gerome,   61,    105,   119. 
Goethe,    115. 
Golden   Gate   Park,   objections   to  as 

Exposition   site,   4. 
"Golds  of  California,"    122. 
Gosling,  J.  W.,   131. 
Grafly,  Charles,  69,  121. 
Gruppe,  Carl,   123,   126. 
Guerin,  Jules,  10,  18,  31,  35.  40,  42, 

56,  57,  64,  68,  76,  86,  90,  97,   104 

107,   108,    123,   128. 
Guillaume,   Henri,   25. 
Gwilt,  Joseph,  41. 

Hadrian's  Villa,  57. 

Hale,  R.  B.,   1-2. 

Half  Courts,   78. 

Harbor  View,   advantages  of   for 

Exposition  site,   4-5. 
Harley,  Charles,  67,   119. 
"Harvest,"   116,   136. 
Hassam,   Childe,   79,    124. 
Hastings,  Thomas.   6.  8,  31,  39.    108. 
Heber,  C.  A.,   120. 
"Helios,"  130. 
Herrick,  Myron  T.,  24. 
Hitomaro,    in. 
Holloway,   Charles,   79,   124. 
Holm,  V.   S.,   120,   123. 
Howard,  John  Galen,  6. 
Hungary,   exhibit  secured   from, 

27,    28. 
Hyatt,  Anna  V.,   121. 

"Ideals  in  Art,"  70,  71,   122. 

Illumination,  19-20,  101-106,  131-138. 

"Imagination,"    128. 

Inscriptions,   108,   109,   no. 

"Inspiration  of  Art,"  71,   122. 

"Invention,"    128. 

Italian  Towers.  35,  38,  78,   loi,   106 

107,   123,   126,    138. 
[talv,  attitude  of,  toward  Exposition, 

26,  27. 

Jaegers,    Albert,    14,    57,    116. 
Jaegers.  August,  14.  116. 
"Jason,"  U.   S.   Collier,  23,  25, 

27,  28. 

Japan,   participation  in  Exposition, 

22,  28. 
Japanese  art,  superiority  of,  85. 


140] 


INDEX 


Kakosha,  27. 

Kalidasa,    no. 

Kelham,   G.   W.,   6,   33,   35,   38,    107, 

123,   124,    126. 
Konti,    Isidore,    14,    16,    17,    51,    114, 

122. 

Ladd,   Anna  C,   120,    123. 
Laessle,   Albert,  80,   127. 
Lafayette,   esquestrian  statue  of, 

70,    121. 
Lake  Merced,   objections  to  as  site 

for  Exposition,  4. 
Laurvik,  J.  N.,  26,  27. 
I-entelii,  Leo,   15,   45,   69,    iio,    121. 

129. 
"Little   Pan,"  81,    125. 
Longman,    Evelyn   B.,    14,    59,   60, 

117,   121. 
Lysicrates,  Choragic  monument 

design,  33. 

McKim,   Mead  &  White,  6,   33,  42, 

no,  II  I,  113. 
McLaren,  John,  11-13,  35-36,  44,  56, 

57.  58,  60,  62,  64,  68,  80,  107,  no, 

IIS,  117.  119.  127,  128. 
MacNeil,   Hermon   A.,    14,    17,   51, 

112,  114. 
Manship,  Paul,  48,  112. 
Marina,  51-53,  90,  91,   loi,  102,  114, 

13  s;   view  from,    114,   115. 
Marinetti,   27. 

Mathews,  A.   F.,   18.  79,   124. 
Maybcck,  Bernard  R.,  61-64,  68, 

105,   119. 
Medallions,  no,  115. 
Merchant.  W.  G.,  121. 
"Mermaid,  The,"  37,   107,   138. 
Miller,  Joaquin,  79,   126. 
"Miner,  The,"   128. 
"Minerva,"   109. 
Monstrances,  90,    129,   133. 
Moore,   C.   C,  4,  5,  6. 
Moraga,  Jose  Joaquin,  no. 
Muller,  Olga  P.,   121,   122. 
Mullgardt,  L.  C,  86,  88,  89,  97,  104, 

129,    130. 
Murals,  17-19,  49,  50,  51,  55,  56,  59. 

70,    71.   79,   92-100,    109,    in,    112, 

117,  122,  123,  124,   130,  138. 
"Music"  and  "Dancing  Girls," 

48,   112.  * 

"Nations  of  the  East,"  45,   in,   134. 
"Nations  of  the  West,"  46,  in,  134. 
Neptune's   Daughter."  91,   131. 
New    Orleans,    chief   competitor    for 

Exposition,  3. 
Newman,   Allen,   52,    114. 
Newman  &  Evans,   108. 
Niehaus,  Charles,  38,   108. 
Nieto,  Dr.  Jacob,   112. 
Niche  of  Ceres,   116. 
Noquet,  Paul,  121. 
Nudity,  use  of  in  sculpture,   16,  84. 


"Old  World  Handing  Its  Burden  to 

the  Younger  World,"  82. 
Oriental  art,  influence  of,  76. 
"Oriental  Flower  Girl,"  80,   126. 
Oriental  group,  45. 
Oriental  symbolism,  use  of,  61. 

Pacific  Ocean  Exposition  Company, 

Page,  Thomas  Nelson,  26. 

Paine,  Robert,   15,   120. 

Palace  of  Agriculture,  no,   115,   116. 

Palace  of  Education,  116,  118,  123, 

125.  127. 

Palace  of  Fine  Arts,  61-64,  68-71, 

119-123,   137. 
Palace  of  Food  Products,  116,  118. 
Palace  of  Horticulture,  34,  72,  76, 

107,  124,  125,  138. 
Palace  of  Liberal  Arts,   no,   115, 

116,  123,  125,  127; 

central  doorway  of,   137. 
Palace  of  Machinery,  83-85,   128, 

132- 
Palace  of  Manufactures,   no,   125, 

126,  127,   129. 
Palace  of  Mines,   129. 

Palace  of  Transportation,   no,  129. 
Palace  of  Varied  Industries,  82,  125, 

126,   127,   129,   132. 
Panama-Pacific  International   Expo- 
sition. 

Architects  of,  6. 

.Attendance  at,  20. 

Block  plan  of  architecture  of,  6,  7. 

Clearing  land,  8,  9. 

Color  scheme  of,   10,  17,  18. 

Committee  on  Organization. of,   2. 

Company  formed,   2. 

Construction  of  buildings,  8. 

Correspondence  of,  2. 

Expenditures  of,  for  properties,   5. 

Financing  of,    1-3. 

Fine  Arts  Department  of,  21-28. 

Hedge  of,  device  used,  12,   13, 
36.  36- 

History  of,   1-28. 

Illumination  of,   19,  20,  101-106. 
131-138. 

Landscape  gardening  of,   11-13. 

Materials  used  in  construction  of. 
9,   10. 

Negotiations  with   foreign  coun- 
tries, 23-28. 

Officials  of,  4,  5. 

Organization  of,   1-6. 

Origin  of,   1. 

Sculpture  of,   14-17,  84. 

Site,  selection  of,  4. 

View  of,  29-34. 
Parsons,  Edith  B.,   121. 
Pascal,  115. 

Patigian,  Haig,  83,  121,  123,  128. 
"Pegasus,"  110. 
Perrault,  62. 
Perry,   R.  H.,   120. 


rT4Ti 


INDEX 


Peters.  W.  H.,  ii8. 
Phra  Ruang,   iii. 
"Physical   Vigor,"    119. 
Piccirilli,  Attilio,   59,   121,   122. 
Piccirilli,   Furio,    14,   58,    117,    122. 
Pietro,   C.    S.,   120. 
"Pink   Alley,"   86,   128. 
"Pioneer,  The,"  79,   126. 
"Pioneers,"  murals,   S5.   S6- 
Pissis,  Albert,  6. 
"Pirate,  The,"  52,  115. 
Pjzarro,  equestrian  statue  of, 

39.   108. 
Polasek,  Albin,   121. 
Polk,  Willis.  6,  7- 
Pratt,  Bela  L.,  120. 
"Priestess  of  Culture,"  71,  122. 
"Primitive  Man  and  Woman,"  129. 
Proctor,   A.  P.,   123. 
"Pursuit  of  Pleasure,"  79,  124. 
Putnam,   Arthur,  37,   139. 

Quotations  on  arches  and  gateways, 

no,   III,  112,  115. 
Quinn,  E.  T.,  120. 

"Rain,"  57,   116. 
Rankin,  J.  J.,  107. 
Recchia,  Richard  H.,   121,   122. 
Recital  Hall,  81,  126. 
"Reclining  Woman,"  81,   125. 
Reid,  Robert,  70,  71,   122. 
Richardson,  Symmes,  16,  114. 
"Rise  of  Civilization,"   129. 
Risque,   Caroline,   120. 
Roberts,   David,    106. 
Rodin,  A.,   58,   65, 

influence   on   Manship,   48. 
Roth,  F.  G.  R.,  IS,  38,  45,  III,  123. 
Rumsey,  C.  C,  108,  122. 
Ryan,  W.   D'A.,   19,   20,  38,   56,   75, 

102,    103,   104,   107,   118,   124,   128, 

131.  132- 

Saint  Gaudens,  Augustus,  46,  123. 

Saint   Gaudens,   Louis,    122. 

Salvatore,  V.  D.,   121. 

Scott  Street  entrance,   35,  36. 

Scudder,  Janet,   121,   122. 

Sculptors,   13,   14,   15. 

Sculpture,  13-17. 

Searchlights,  number  of,  131. 

Serpent,  symbolism  of,  61,   130. 

"Setting  Sun,"   130. 

Shakespeare,   1 11 . 

"Signs  of  the  Zodiac,"  112,  113,  116. 

Simmons,  Edward,  49,   in. 

"Source  of  Genius,"  119. 

South  Gardens,  37-41,   76,   107,    138. 

South  Wall,  79,  125,  127. 

Southern  Pacific  Railroad  Company, 

subscription,  3. 
Spenser,   115. 

"Spirit  of  Intelligence,"  90,   129. 
"Spirit  of  the  Waters,"  113. 


"Spring,"   58,    117. 

Stackpole,  Ralph,  54,  65,  82,   119. 

127. 
Star-figure,   47,    112,    134. 
Stea,  Cesar,  118. 
"Steam   Power,"    128. 
Sterling,  George,   n6. 
Sterling,  L.  M.,   121. 
"Summer,"  58,   117. 
"Sunshine,"  57,   116. 

Taft,  Lorado,  120. 
Tait,   Robert,   121. 
"Thinker,   The,"   65,    90. 
"Thought,"  65. 
Tirman,   Albert,   23,   24. 
"Toilers,   The,"   see   "Burden 

Bearers." 
Tonetti,   F.   M.   L.,   39,    108. 
"Torch   Bearer,   The,"   81. 
Tower  of  Jewels,   20,    31-33,   42,   43, 

75,    102,    105,    106,    107,    108,    109, 

132,   134.   135- 
Trask,  J.  E.   D.,  22,  23. 
"Travels  in  the  Holy  Land,"   106. 
Travertine,    10,   33,   86. 
Tritons,   47,   113. 
"Triumph  of  the  Fields,"  67,   119- 

Ulrich,  Louis,   118,   125. 
Union  Pacific  Railroad  Company, 
subscription,  3. 

"Valor"  and  "Fame,"   16,    107. 
Venetian   Court,    115,    136. 
"Victorious  Spirit,"   79,    124. 
"Victory,"    60,    118,    125. 
Vitruvius,  architecture  of,  41. 

Walter,   Edgar,  80,   127. 
War,  effects  of,  on  Exposition, 

21,  23,  25. 
Ward,  Clarence,  6,  83,  84. 
Ward,   J.   O.   A.,    123. 
Ward  &  Biohme,   128. 
Warner,   O.  L.,   122. 
"Water  Sprites,"   129. 
Weinman,  A.  A.,  14,  47,  48,  113. 
Western  Wall,  64,   136. 
Whitman,   Walt,   112. 
Whitney,   Gertrude  V.,  43,    109. 
Weinert,  Albert,  66,  89,  124,  128, 

129. 
"Wounded  Lion,"  68. 
"Winged    Victory    of    Samothrace," 

60,  118. 

Young,  Mahonri,   14,   125. 

"Youth,"  6s,  109. 

Y.  W.  C.  A.  Building,  107. 

Zimm,  B.  L.,  61,  64,  119. 
Zone,  36,  131,   132. 
Zuhayr,  in. 


[142] 


BY  THE  SAME  AUTHOR 

IN  THE 

PALACE  OF  FINE  ARTS  AND 

THE  FRENCH  PAVILION 

For  the  benefit  of  those  visitors  to  the  Exposition  who  have  not 
made  a  study  of  painting  and  sculpture  and  who  feel  bewildered 
in  the  presence  of  so  much  that  is  to  be  seen,  Mr.  Barry  has  pre- 
pared this  small  and  easily  read  hand-book,  free  from  bewilder- 
ing language  and  technical  terms.  It  at  once  relates  the  reader  to 
the  most  important  pictures  and  statues  and  serves  as  a  guide, 
telling  where  to  begin  and  how  to  go  on.  The  list  of  artists  whose 
work  ought  to  be  seen  is  accompanied  by  a  brief  account  of  each, 
a  most  helpful  feature.  Here,  for  example,  is  what  Mr.  Barry  has 
to  say  about  the  American  painter,  John  Singer  Sargent : 

"One  of  the  greatest  portrait-painters  of  his  time.  At  twenty-one 
he  painted  a  portrait  of  his  teacher,  Carolus  Duran,  that  made  a 
sensation.  From  Velasquez  he  learned  much  in  the  way  of  tech- 
nique. He  excels  in  the  vigorous  presentation  of  character.  Some- 
times he  shows  that  he  is  a  rather  stern  observer.  His  portraits 
here  are  all  remarkable.  The  Madame  Gautreau  is  generally  ac- 
cepted as  a  masterpiece  of  painting.  The  left  arm  and  the  neck 
are  notably  well  done.  The  make-up  on  the  face  is  adroitly  sug- 
gested. The  portrait  of  Henry  James,  the  American  novelist, 
achieved  notoriety  through  being  slashed  by  a  militant  suflfrag- 
ette  when  it  was  first  exhibited  in  London  a  few  years  ago.  The 
portrait-sketch  of  Joseph  Jefferson,  the  actor,  was  evidently  exe- 
cuted with  great  sympathy.  As  Jefferson  was  a  painter  of  ability, 
Sargent  must  have  known  that  he  had  a  sitter  with  a  full  appre- 
ciation of  his  work.  Of  late  he  has  given  up  portrait-painting  and 
devoted  himself  to  landscape." 


BY  THE  SAME  AUTHOR 

REACTIONS 

AND  OTHER  ESSAYS,  DISCUSSING 

THOSE  STATES  OF  FEELING  AND  ATTITUDES 

OF  MIND  THAT  FIND  EXPRESSION  IN 

OUR  INDIVIDUAL  QUALITIES 

In  this  new  collection  Mr.  Barry  presents  some  of  his  most 
mature  and  representative  work.  It  covers  a  wide  range  of  theme, 
varying  from  a  discussion  of  "Aspects  of  War"  to  those  human 
problems  of  daily  life  that  the  author  has  treated  so  suggestively 
in  his  previous  volumes. 

Throughout  the  book  is  packed  with  keen  observation  and 
stimulating  comment.  In  "Getting  on  with  People"  there  is  this 
striking  bit  of  philosophy: 

"Every  one  of  us  is  like  a  mesh  of  string.  And  among  all  the 
many  strings  in  that  mesh  there  is  somewhere  hidden  a  yellow 
piece.  It  may  be  a  long  piece  or  a  short  piece.  But  it  is  there. 
And  every  one  of  us  is  likely  to  know  it  is  there.  And  every  one 
of  us  is  likely  to  hide  it  from  those  we  love  and  whose  love  we 
prize. 

"Now  and  then  some  one  comes  along  and  sees  in  the  mesh 
that  yellow  streak.  And  in  seeing  it  he  is  likely  to  identify  the 
whole  mesh,  that  is,  the  whole  character,  with  yellow. 

"And  if  he  lets  us  know  that  he  believes  we  are  all  yellow,  we 
are  likely  to  become  yellow,  at  any  rate,  so  far  as  that  particular 
observer  is  concerned.  We  are  likely  to  act  toward  him  as  if  we 
really  were  yellow. 

"So  it  behooves  us  to  be  careful  in  seeing.  If  we  must  be  sharp. 
if  we  must  see  that  yellow  streak,  let  us  be  careful  not  to  let  it 
l)lind  us  to  the  other  colors." 

Among  the  more  serious  of  the  studies  is  the  one  that  those 
who  have  suffered  bereavement  will  be  likely  to  find  the  most 
comforting,  "The  Dead." 

Other  subjects  include  "Keeping  One's  Pleasures,"  "Expecting 
the  Impossible,"  "Prisoners  of  Prejudice,"  "The  Imaginary 
People,"  "The  Perfect  Mother,"  "The  Hope  of  the  Future,"  "The 
Stumblers,"  "Silence,"  "Fate  is  Character,"  "The  Looks  of  Pris- 
oners," "Love,"  "God's  Poor,"  "The  Decline  of  Arrogance,"  "The 
Lies  of  Literature,"  "Multiplying  Our  Troubles,"  and  "Creating 
a  World." 


BY  THE  SAME  AUTHOR 

OUTLINES 

BRIEF  STUDIES  IN  FICTION 

REPRESENTING  AN  EFFORT  TO  GIVE  AN 

IMAGINATIVE  INTERPRETATION  TO  FAMILIAR 

HUMAN  EXPERIENCES 

The  essays  are  charming  in  conception  and  treatment,  alle- 
gorical and  dainty,  and  yet  instinct  with  manly  virility.  They  de- 
serve nothing  but  commendation. — Los  Angeles  Tribune. 

Mr.  John  D.  Barry's  "Outlines"  are  social  studies  in  allegory. 
Originally  written  for  the  San  Francisco  Bulletin,  their  wisdom 
and  laconic  vigor  constitute  good  reason  for  collection. — Boston 
Daily  Advertiser. 

The  author,  in  each  case,  has  a  moral  idea  to  express  and  puts 
it  into  narrative  form  with  a  good  deal  of  literary  skill.  The 
stories  are  very  brief  and  stop  short  when  the  author  has  made 
his  point. — New  York  Sun. 

Here  is  rather  a  remarkable  literary  form.  It  is  fiction,  or  rather 
allegory,  each  short  piece  interpreting  some  thought  or  ethic. 
Force,  directness,  simplicity  and  boldness  commend  it  to  the 
reader. — Duluth  Herald. 

The  contents  of  the  book  are  as  rich  and  attractive  as  are  the 
binding  and  typography.  .  .  .  Each  article  in  the  book  is  in  reality 
a  short  story — a  very  brief,  short  story,  but  withal  a  very  nearly 
perfect  one. — Hartford  Post. 

Indeed  they  are  "Outlines,"  these  sketches  of  various  phases 
of  human  experience ;  but  outlines  drawn  by  so  sure  a  hand  that 
each  stroke  tells.  Nor  could  any  elaboration  of  detail,  however 
.skilfully  made,  more  vividly  depict  their  subjects. — Boston  Tran- 
script. 

Just  as  the  dress  of  this  volume  is  suggestive  in  its  simplicity, 
so  are  the  studies  within.  They  are  in  the  manner  of  fables, 
delicately  conceived  and  expertly  fashioned.  There  is  a  haunting 
beauty  in  the  music  of  the  prose  and  often  a  penetrating  force  in 
the  ideas  set  forth.  .  .  .  There  are  nearly  fifty  stories  in  the  hook 
and  there  are  few  which  will  not  jar  you  mentally.  And  mental 
upheavals  are  healthy  things. — Detroit  Tribune. 

Here  are  half  a  hundred  little  parables  of  every  day.  Each  is 
addressed  to  all  the  world.  Each  enwraps  one  or  another  of  the 
multitudinous  selves  and  attitudes  in  which  the  soul  looks  out  in 
humanwise  upon  the  mystery  of  life.  All  work  together  to  give 
us  lightning  flashes  of  our  real  but  elusive  selves  as  these  exist 
under  their  overlayings  of  convention  and  custom.  ...  It  is  writ- 
ing of  great  beauty  and  distinction,  little  dramas  of  life  set  in  a 
golden  imagination.  As  a  book,  a  thing  for  the  hand  and  the  eye, 
it  is  also  one  of  Paul  Elder's  artistic  productions. — Washington 
Evening  Star. 


BY  THE  SAME  AUTHOR 

INTIMATIONS 

A  COLLECTION  OF  BRIEF  ESSAYS 

DEALING  MAINLY  WITH  ASPECTS  OF 

EVERYDAY  LIVING 

A  very  readable  book  is  Mr.  Barry's  "Intimations,"  tbe  kind  of 
book  that  one  takes  pleasure  in  possessing  because  its  interest  is 
so  human,  its  earnestness  so  convincing,  its  quiet  humor  so  sym- 
pathetic and  its  comments  upon  life  and  peoples  so  keen. — The 
Crafts»ian. 

Get  his  volume,  "Intimations,"  and  read  his  essays.  Ponder 
over  them.  They  will  soon  rank  in  your  mind  with  the  work  of 
the  younger  brother  of  Marcus  Aurelius,  Thomas  a  Kempis,  and 
Emerson,  and  become  of  your  daily  bread  for  mind  and  spirit. — 
George  Wharton  James. 

The  wide  variety  of  subjects  touched  on,  the  dramatic  power 
displayed  in  the  general  plan  and  writing  of  the  essays,  the  insight 
and  originality,  all  mark  the  book  as  one  of  unusual  dignity, 
power  and  excellence. — Salt  Lake  Tribune. 

Read  this  book  carefully  in  odd  half  hours,  and  it  will  add  much 
to  3'our  knowledge  of  life ;  it  will  make  your  heart  tender  to 
those  who  are  bearing  heavy  burdens;  it  will  help  you  to  endure 
the  frequent  ingratitude  which  is  the  portion  of  the  warm-hearted. 
And  when  you  have  got  all  there  is  in  it,  send  the  book  to  a 
friend,  and  thus  spread  the  gospel  of  helpfulness.— Gc-c^/'gc  HamVri 
Fitch,  in  the  San  Francisco  Chronicle. 

From  the  press  of  Paul  Elder  comes  a  new  book  of  consequence. 
It  is  called  "Intimations,"  and  is  from  the  pen  of  John  D.  Barry, 
by  profession  a  critic,  by  nature  constructive  and  by  cultivation  a 
writer  of  rare  charm.  In  the  past  he  has  written  several  boots  of 
merit,  but  this  last  has  in  it  a  note  of  golden  maturity,  which  o'lt- 
strips  the  rest.  It  is  mellow  and  beautiful  and  we  doubt  if  America 
has  produced  anything  in  an  essay  since  the  days  of  Emerson  that 
is  more  choice. — The  Los  Angeles  Times. 

John  D.  Barry  has  been  writing  for  the  San  Francisco  BMlletin 
a  series  of  essays  so  delicate  yet  so  strong  as  to  suggest  the  French 
press  rather  than  the  American.  These  are  now  published  in  so 
beautiful  a  book  as  to  astonish  those  "provincial"  Easterners  who 
imagine  that  no  books  are  made  except  in  New  York,  occasionally 
Boston,  and  that  far  fringe  of  Western  civilization — Chicago. 
Here  is  a  San  Francisco  book  to  amaze  them,  even  on  the  outside. 
Inside  is  much  to  arrest  the  reader ;  thoughts  penetrating,  illumi- 
nating, uplifting;  suggestions  which  do  not  antagonize  or  irritate, 
but  leave  a  live  idea,  like  the  gift  of  a  growing  plant.  The  title  is 
well  chosen — "Intimations," —  gentle  in  the  extreme,  yet  perfectly 
defining  the  subject  matter. — Charlotte  Perkins  Gilman,  in  The 
Forerunner. 


63 


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